The General
The General
VOD (1)
Opisy(1)
Generał to wspaniała historia o odwadze i miłości. Johnnie Gray miłością czystą i bezgraniczną kocha swoją narzeczoną Annabelle i swoją... pracę. Jest maszynistą lokomotywy zwanej "Generałem". Trwa wojna secesyjna i Johnny chce walczyć po stronie Konfederatów. Armia potrzebuje go jednak bardziej jako maszynisty, niż jako żołnierza. Tymczasem Annabelle nie wierzy nawet w to, że chciał się zaciągnąć. Nie chce z nim rozmawiać, dopóki nie będzie nosił munduru. Kiedy wrogowie porywają Generała, Johnny rzuca się w pościg. Musi udowodnić sobie, że męstwem można się wykazać nie tylko na froncie. Wszak w pociągu znajduje się Annabelle... (Art-House)
(więcej)Recenzje (5)
The eighteenth best American movie of all times according to a survey by the American Film Institute - and I should say that this was well deserved. The new accompanying music by the Tokyo City Philharmonic Orchestra conducted by Joe Hisaishi gives it wonderful oomph. For many, it might be lucky that this isn’t so insanely slapstick - you get everything here, love, situation comedy, wars, chases... Simply everything in a pure cocktail of classic entertainment. Plus, it is really action-packed and dynamic, not just for when it was made. Buster Keaton’s big dream about trains came true here. If it weren’t for the rather weak middle part in the Union command post and the escape, it would be absolutely flawless. But still it is ingeniously simple and simply genius.
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Keaton just the way we like him. Frigo, in distress, first deals with the dilemma of a proud girlfriend who doesn't want him out of uniform during the Civil War and, against the odds, becomes a war hero. Fortunately, his better half is present for this process, so she has no issues acknowledging the little man's merits at the end. The point of everything is a helpless scene when Frigo doesn't know whether to strangle or kiss his better half, but in the end, managing to do both.
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I'm not saying that this is clearly Buster Keaton's best film (in my view, Sherlock Jr. and Steamboat Bill, Jr. rival him for that title), but it's a great film that can't be faulted at all. Sophisticated action scenes, charming humor, somewhat unconventional but impressive war atmosphere, stunts of a kind... I wish Buster had known how many people today unreservedly adore this famous film, which was a critical smash at the time of its creation.
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Grotesque that relies not on quick gags and strong emotional themes, but on a detailed, inch-by-inch, gesture-by-gesture action adventure that surpasses even all of Chaplin's masterpieces from a certain cinephilic perspective thanks to its perfect compositional construction, breathtaking mise-en-scène layout, and an unprecedentedly cohesive structure for its time, where every small motif and event plays a role. The humour is amazingly smart and imaginative, and the action scenes on the locomotives themselves are still a model for Hollywood's "action movement" – with minimal editing, of course (in 1926 it was probably unthinkable to shoot one action scene with seven cameras), but with admirable timing and layout, resulting in some of the most beautiful and endearing scenes of the entire silent era. The amazing Keaton – as a director he matches his genius in front of the camera – and his stony face and tiny facial expressions make you laugh as effectively as Charlie's shy pout. A legend that can be watched over and over again and never gets old... 100%
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Buster Keaton is in great form, showcasing what he was perfect at. The plot of the film is not really comedic, the character never smiles once, but what he does is incredibly funny. But it's not just about being funny, it is very clear how it is structured, how solid its foundations are. This film is beautifully thought out and works even for modern viewers. Grotesques are primarily films that - of course, not in all cases - managed to survive the silent era. Actually, they wouldn't work as sound films either.
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