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Moonrise Kingdom - Una Fuga D'Amore
Tutte le versioni Blu-ray | Edizione | Dischi | Prezzo Amazon | Nuovo a partire da | Usato da |
Blu-ray
27 settembre 2012 "Ti preghiamo di riprovare" | — | 1 | 14,46 € | 7,63 € |
Blu-ray
18 novembre 2019 "Ti preghiamo di riprovare" | — | 1 | 29,86 € | 46,08 € |
Blu-ray
8 maggio 2013 "Ti preghiamo di riprovare" | — | 1 |
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| — | — |
Blu-ray
5 novembre 2014 "Ti preghiamo di riprovare" | — | 1 | 25,45 € | 25,34 € |
Blu-ray
16 ottobre 2012 "Ti preghiamo di riprovare" | — | 2 |
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| — | 41,37 € |
Blu-ray
26 maggio 2015 "Ti preghiamo di riprovare" | — | 1 |
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| — | 50,58 € |
Formato | Schermo panoramico, Blu-ray, PAL |
Collaboratore | Gilman, Hayward, Willis, Murray, Norton |
Lingua | Inglese, Italiano |
Tempo di esecuzione | 1 ora e 33 minuti |
Cosa hanno acquistato i clienti dopo aver visto questo articolo?
- Il più apprezzatoin questa serie di prodottiThe Wes Anderson collectionSeitz Matt Z.Copertina rigida
Descrizione prodotto
Un' isola al largo delle coste del New England nell'estate del 1965: due dodicenni si innamorano, stringono un patto segreto e fuggono insieme nella foresta. Mentre le autorità li cercano, la situazione è complicata dallo scoppio di una terribile tempesta, che mette l'intera comunità locale a soqquadro!
Dettagli prodotto
- Aspect Ratio : 16:9
- Età consigliata : Film per tutti
- Lingua : Inglese, Italiano
- Dimensioni del collo : 17,2 x 13,6 x 1,2 cm; 60 grammi
- Formato supporto : Schermo panoramico, Blu-ray, PAL
- Tempo di esecuzione : 1 ora e 33 minuti
- Data d'uscita : 8 maggio 2013
- Attori : Gilman, Hayward, Willis, Murray, Norton
- Sottotitoli: : Italiano
- Lingua : Italiano (DTS-HD High Res Audio), Inglese (DTS-HD High Res Audio)
- Studio : Luk
- Garanzia e recesso: Se vuoi restituire un prodotto entro 30 giorni dal ricevimento perché hai cambiato idea, consulta la nostra pagina d'aiuto sul Diritto di Recesso. Se hai ricevuto un prodotto difettoso o danneggiato consulta la nostra pagina d'aiuto sulla Garanzia Legale. Per informazioni specifiche sugli acquisti effettuati su Marketplace consulta la nostra pagina d'aiuto su Resi e rimborsi per articoli Marketplace.
- ASIN : B00BLG2ZJQ
- Numero di dischi : 1
- Posizione nella classifica Bestseller di Amazon: n. 13,942 in Film e TV (Visualizza i Top 100 nella categoria Film e TV)
- n. 2,645 in Commedie (Film e TV)
- Recensioni dei clienti:
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Ciò detto le edizioni Criterion dei suoi film sono per me imperdibili.
Questa è bellissima, perché include oltre agli extra sul disco anche una bellissima mappa.
Il film è in Inglese con sottotitoli in Inglese ed è l'edizione UK-
Perciò si a lettori blu ray italiani. No a chi non è sicuro del suo inglese.
Le recensioni migliori da altri paesi
I don't think Anderson is a one note director even though there is no debate that his films all share a particular feel, style, and tone. When the opportunity presents itself in this film, quite a bit of it takes place outside in larger spaces, his typical meticulous mis-en-scene is showcased. The dialogue is as spare, direct, and tight as ever. Some people apparently find this off-putting since the two leads are children...I think this betrays a lack of familiarity with Anderson (maybe more, but at least this) since he has always handled children /as they are/ - as young adults. I mentioned RT in the title because I think it is the closest to MK in terms of emotional tone. There is a desperation in all of these characters that cuts through my defenses as a viewer. I won't deny being a willing audience, but I have no trouble finding my way into each moment. Finally, to wrap up the general stuff, there is a touch of the fantastic in Moonrise Kingdom that seems like a holdover from the Life Aquatic - but I don't think it is central to the film and it doesn't change the overall tone.
This is an adventure story, and a love story, and an escape story...at times it's tragic, at times funny, at times awkward, and it's almost always exciting. In short this is a movie about being a young (pre-)teen. The leads are in that embarrassing moment in which hormones, desire, and passion meet with inexperience. They are isolated from the world in many ways and alienated from their peers and most of the adults around them. It's the two of them against the world. And the really lovely thing about this film is the way they succeed.
The adults are all disconnected from the children to different degrees (for different reasons), but one of the many exceptional things about the film is the way that each adult is a foil for the leads. One easy example is the failed marriage of Suzy's parents contrasted with the feverish and indomitable love between Suzy and Sam. As is always the case with Anderson, not a moment or exchange is wasted or empty.
I'd like to say more about the movie, but it would really be best for you to just see it.
Product note and two tangents:
- The blu-ray release is very fine in terms of picture and sound, but many fans will find the lack of additional features somewhat disappointing. I am sure that a future release (Criterion maybe) will include such features. In the meantime this bare-bones release will either sate your appetite for the film, or just seem like a money grab, etc. I'm not disappointed enough, or cynical enough, to feel cheated...and besides, I don't want to wait...
- If you're on the fence about this film because you've heard that there is something voyeuristic, pornographic, or indecent about Suzy and Sam's relationship (a particular scene really seems to have bothered some viewers)...please do yourself a favor and put that out of your mind. I have no idea how anyone could find this so offensive...I could venture a guess, but it would be very mean...if you live in a world in which teenagers do not think sexual thoughts, utter sexual sentences, or do sexual things, then you may very well be offended.
- Along the same lines, if you're on the fence because you've heard there is gratuitous violence against an animal...please put that out of your mind also. If you think a good film CANNOT portray an animal being harmed, then you will not think this is a good film. If, instead, you think that a film can portray an animal being harmed as part of a larger story, as part of a particular moment in a character's development, then you should not hesitate to watch the film on this account. For anyone suggesting that the death is unnecessary, callous, or in poor taste, I implore you to watch the film again and consider this moment more carefully. Some people have pointed to RT - since an animal dies in that movie as well - and drawn a larger conclusion about Anderson's lack of concern/care for animals. I worry that these people are not watching the films...these deaths are catalysts for the story, triggers for changes in certain characters, and are deeply emotional moments.
Of course, this film is not for everyone. The leads are children, but the film is not for most children. If you have a strong opinion about Wes Anderson, let that be your guide. I think this is Anderson's best since the Royal Tenenbaums and I cannot break the tie between them for my favorite of his movies.
Heavy hitters include the brilliant Edward Norton (for once watching his language and holding his temper) as an anal but dedicated troop leader, Bill Murray who in stark contrast to the young stars in this film, fails to find any joy whatsoever in his work in the law profession, wealth, family or beautiful surroundings. His dissatisfied wife (Frances McDormand who was the psychiatrist in Norton's first film Primal Fear), is also an attorney (the lawyer banter are some of the funniest lines in the film). Bruce Willis (who plays very well with child stars as he has a bit of child still left in him) is the bachelor, island cop who goes head-to-head with the chilling Tilda Swinton (white witch from Narnia) known only as "Social Services," as she callously plans to put "the boy" in juvenile refuge to undergo shock therapy as needed.
Despite the exceptionally strong adult cast, the two main child stars Sam and Suzy not only keep pace, but outshine the grownups with their unfailing loyalty and unconditional love for each other, both express an unthinking complete giving of themselves to one other. The film captures beautifully in the persons of these two intriguing social outcasts the experience of moving from being trapped in isolation into discovering and developing a union with another. I love how the two of them are so adult and wise in one way and still very much children, with childlike reasoning and priorities, e.g., Suzy runs away and packs a suitcase full of books and her kitten but not a change of clothes.
The cast is rounded out by a boyscout troop with scouts having inappropriately derogatory names as we did in my youth - such as lazy eye for the boy with the eyepatch. Also true to life was how dangerous and unsupervised our childhoods were then. Seeing the boy jump from two story height onto a trampoline without a surrounding net or a single spotter in sight, for example, really brought me back. And interactions with our parents really were pretty much restricted to being called to the table for dinner. I loved seeing Suzy's little brothers (Irish triplets) while away the time with all of the board and other none electronic games, fueled by a couple of dice or imagination.
Wes Anderson spins a simple, sweet story - yet the viewer never knows exactly where it is headed. Throughout, the film is subtly hilarious. In trademark Anderson fashion, the lines are delivered in an almost deadpan way with all the characters completely oblivious to the irony and ridiculousness of the situation, dialog, and even their lives and themselves. I highly recommend purchasing this movie; it's one you'll want to watch again and again and share with other people. I've already seen it four times and it hasn't even opened in theaters in my state, yet.
Trotzdem bestellte ich Moonrise Kingdom als Blu-Ray, das erste Anderson-Stück für meine Sammlung, ohne ihn vorher gesehen zu haben. Da ich seinen Stil liebe und über die guten Kritiken bescheid wusste, konnte man damit nicht viel falsch machen, dachte ich.
Was soll ich sagen? In diesem Fall wurde ich tatsächlich nicht enttäuscht. Moonrise Kingdom ist Wes Andersons erstes wirklich homogenes Werk, das mir von vorne bis hinten ausnahmslos gefallen hat. Von dem perfekten Cast (was soll man zu Bill Murray, Edward Norton und Bruce Willis noch sagen – besonders Bruce Willis ist eine Offenbarung gerade durch seinen unerwarteten Einsatz in einem Wes Anderson Film) bis zur cinematischen und musikalischen Komposition (ich hatte direkt das Bedürfnis mir den Soundtrack zu kaufen, und vor allem die wunderbare Symphonie von Alexandre Desplat in einem Stück zu genießen) ist alles aufeinander abgestimmt. Der Plot ergibt diesmal wirklich Sinn, auch wenn die Prämisse, zwei Zwölfjährige, die sich verlieben, für einige schwer zu schlucken ist (eine Szene diesbezüglich hätte auch nicht unbedingt in der Intensität sein müssen). Aber das war schon immer der Fall bei Wes Anderson, dass man seine teilweise skurillen aber auch kongenialen Prämissen erstmal verarbeiten muss. Darüber hinaus hat Anderson ein unfassbares Gespür für Details, jedes Bild wirkt lebendig, alles bewegt sich und der Zuschauer mit. In diesem Fall ist es wirklich pure cinema, wie es sonst nur Meister wie Hitchcock vollbringen konnten. Wie Hitchcock ist Anderson ein perfektes Beispiel für den Auteur, den idealen Autorenfilmer und cineastischen Komponisten eines Gesamtwerkes wie er von den Regisseuren und Theoretikern der Novelle Vague verehrt wurde, alles besitzt einen runden, stimmigen Stil, eine eigene Stimme, die Sinn macht und uns jedes Mal in ihr Universum mitreißt. Nicht umsonst hatte ich direkt nach dem Anschauen des Films das Bedürfnis, ihn am gleichen Tag noch einmal reinzulegen und ihn einem Bekannten vorzuführen. Das nennt man Begeisterung, was nicht einfach ist, für eine Person, die tausende Filme jeglicher Couleur gesehen hat und sich selbst Cineast nennt. Aber auch das Ende – ohne es spoilern zu wollen – macht diesmal innerhalb von Wes Andersons Universum wirklich Sinn. Ein kleines Schmankerl obendrauf sind die vielen philosophischen Referenzen, die bei Wes Anderson, einem ehemaligen Philosophiestudenten auch nicht anders erwartet werden sollten und bei denen ich mich als Philosophiekenner natürlich wohl wühle. Bedeutungsleere kann man dem Film nicht vorwerfen.
Wer es noch nicht bemerkt hat, dem sage ich: Der Film ist ohne wenn und aber zu empfehlen und wer sich das erste Mal in den cineastischen Kosmos von Wes Anderson wagt, der ist mit diesem Film genau richtig. Es ist sein bisheriges Meisterwerk, von dem ich sagen kann, dass ihm noch unzählige Rotationen in meinem Blu-Ray Laufwerk bevorstehen wird.
Mit anderen Worten sehenswert.
Trotz aller Stilisierung hat mich auch beim Wiedersehen nicht nur die Liebesgeschichte der beiden 12jährigen Sam und Suzy, sondern auch das Porträt so mancher Nebenfigur bewegt. Besonders Edward Norton als Pfadfinderleiter, Frances McDormand und Bill Murray als die Eltern von Suzy und Bruce Willis als abgehalfterter Polizist (im Gegensatz zu Kevin Smith kann Anderson mit dieser eigenwilligen Action-Diva wohl umgehen) haben mich überzeugt. Es ist schon ein Vorteil, wenn man seine vielen Nebenfiguren mit Stars besetzen kann, die diesen mit wenigen darstellerischen Pinselstrichen Charakter geben können.
Vielleicht geht beim zweiten Sehen das Konzept noch besser auf, in dem die Kinder den Erwachsenen einen Spiegel vorhalten. Es gibt eine solche liebevolle Detaildichte, die sich erst in der Wiederholung erschließen kann. Das beginnt schon mit dem musikalischen Scherz, den Film mit Brittens "Young Person's Guide to the Orchestra" beginnen zu lassen, das jungen Menschen etwas herablassend die Orchesterinstrumente erklärt. Im Abspann dann kommentiert der junge Hauptdarsteller dann die Filmmusik von Alexandre Desplat in ähnlicher Weise. Wundervoll auch die (erfundenen) Kinderbücher Suzys, ihr Hang zu melancholischen französischen Chansons ("Le temps de l'amour" gesungen von Françoise Hardy) und Sams kunstvolle Zeichnungen. Außerdem spielt die Handlung in meinem Geburtsjahr!
Filmwertung: Sehr gut (8/10).
Das Bild der Blu-ray wirkt manchmal etwas weich, fast unscharf, das scheint aber der Quelle geschuldet zu sein, denn Anderson hat wohl um des nostalgischen Effekts willen in 16mm gedreht. Ansonsten gibt es technisch nichts zu bemängeln, und es werden etliche informative Extras angeboten, hervorzuheben die allerdings nicht untertitelten Interviews, u.a. mit Wes Anderson und einem in Cannes aufgenommenen entspannten Bill Murray (jeweils ca. 10 Minuten). Dafür gibt es ein kurzes deutschsprachiges Making of, in dem auch Co-Autor Roman Coppola kurz zu Wort kommt.