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Cradle Will Rock
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Format | Color, NTSC, Multiple Formats |
Contributor | Hall, Philip Baker, Murray, Bill, Gass, Kyle, Giamatti, Paul, Sheridan, Jamey, Blades, Rubén, Redgrave, Vanessa, Macfadyen, Angus, Cusack, Joan, Sarandon, Susan, Balaban, Bob, Black, Jack, Turturro, John, Hughes, Barnard, Azaria, Hank, Cusack, John, Elwes, Cary, Watson, Emily, Jones, Cherry See more |
Language | English |
Runtime | 2 hours and 12 minutes |
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Product Description
Powerful and sweeping, the critically acclaimed CRADLE WILL ROCK, starring Hank Azaria, Joan Cusack, John Cusack, Bill Murray, and Susan Sarandon, takes a kaleidoscopic look at the extraordinary events of 1930s America. From high society to life on the streets, director Tim Robbins (DEAD MAN WALKING) brings Depression-era New York City to vivid life. It's a time when DaVincis are given to millionaires who help fund the Mussolini war effort and Nelson Rockefeller commissions Mexican artist Diego Rivera to paint the lobby of Rockefeller Center. A time when a young Orson Welles and a troupe of passionate actors risk everything to perform the infamous musical "The Cradle Will Rock." As threats to their freedom and livelihood loom larger, they refuse to give into censorship. Based on actual events, CRADLE WILL ROCK will move you.
Product details
- Aspect Ratio : 2.35:1
- Is Discontinued By Manufacturer : No
- MPAA rating : R (Restricted)
- Product Dimensions : 7.5 x 5 x 0.75 inches; 4 ounces
- Media Format : Color, NTSC, Multiple Formats
- Run time : 2 hours and 12 minutes
- Release date : May 16, 2000
- Actors : Azaria, Hank, Balaban, Bob, Black, Jack, Blades, Rubén, Cusack, Joan
- Studio : Buena Vista Home Video - Mill Creek
- ASIN : B00003CWNU
- Number of discs : 1
- Best Sellers Rank: #126,414 in Movies & TV (See Top 100 in Movies & TV)
- #20,703 in Drama DVDs
- Customer Reviews:
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Ramon Blades portrays Diego Rivera as a wryly perceptive charmer; John Cusack is a superficially sophisticated Nelson Rockefeller; Emily Watson is a poignant portrait in sadness as the actress actually "off the streets," Olive Stanton; Bill Murray is equally impressive as the melancholic, resentful vaudeville ventriloquist, Tommy Crickshaw; John Turturro is powerful and inspiring as the principled Italian immigrant who plays the union organizer in the radical Federal Theatre project musical that gives its title to this film. (And I must add an accolade for Corina Katt, who is Frida Kahlo: she takes a small part with only a few lines -- in Spanish, already! -- and you literally can not take your eyes off her when she is on screen.)
As I say, there is a great deal of "fun" in this film, yet its essential story is serious and sad. It chronicles the erosion of politically potent (meaning "radical") popular theatre into the (generally) escapist entertainment that pervades most American arts today. From "Lenin" (who does not "stay" -- as Rivera's Rockefeller Center mural attacking imperial capitalism is destroyed by a self-righteously indignant Nelson) we have declined to "Lennon" -- i. e., a song like John Lennon's "Imagine" is as "radical" as pop culture is likely to allow.
And note especially the masquerade ball sequence in which Nelson Rockefeller, William Randolph Hearst, and "Gray Mathers" (a fictional but representative steel magnate) discuss their scheme to exalt "individualistic" (i. e., ego-centered) abstract, scenic and erotic art at the expense of art with social purpose and a social conscience. If you wonder why there are so few good films that seriously critique our society and system (and so much silly, adolescent-oriented soft pornography), here is an explanation worth pondering -- as well as a movie worth seeing.
The movie makes it clear that a federal theatre probably would never work in a republic like America, because art demands complete freedom of expression. And no matter how well-intended a federally-funded theatre may claim to be, there will always be those controlling the purse-strings that will want to dictate what can and cannot be done with the money. Socialism as an idea was something that people at that time were looking into as an idea and so naturally themes of socialism were creeping into some of the work that was being created.
While some boundaries can be good for artistic creativity, it will backfire if seen by the artistic community as oppressive or governed by commerce or other less-than-pure motives. That is why these artists eventually came together and worked around the restrictions placed on them that were intended to halt the performance, and created an impromptu performance of this musical from the house.
It was a very inspiring movie, and there were a few artistic touches I enjoyed. One was the dispute between Diego Rivera painting the mural filled with communist imagery in one of John Rockefeller’s buildings. Another was the children’s beaver play being suspected of communist propaganda (which it may arguably have been, although not intentionally). And I liked the touch of having the ghost of Bertolt Brecht accompanying Marc Blitzstein’s wife’s ghost as inspirations for the direction he takes in writing and composing the play.
I had not heard of this incident in the history of the WPA, or this movie about it, and it seems to have gotten a ho-hum reaction at the box office and by the critics. But I thoroughly enjoyed it, and would watch it again. It's worth a look if you like movies set in the post-WWII era or are a theatre buff.
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The seller of the DVD is totally fine!! No complaints.