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Roger Ebert

Data de nascimento: 18. Junho 1942
Data de falecimento: 4. Abril 2013
Outros nomes: Ռոջեր Էբերթ, Роджър Еберт, రోజెర్ ఎబెర్ట్, راجر ایبرت

Roger Joseph Ebert foi um crítico de cinema e roteirista norte-americano.

Era conhecido por sua coluna na qual fazia críticas e análises de filmes e por dois programas de televisão, Sneak Previews e Siskel & Ebert at the Movies, que ele apresentou ao longo de 23 anos juntamente com Gene Siskel. Com a morte de Siskel, em 1999, Roger continuou o programa com Richard Roeper, com o novo título de Ebert & Roeper at the Movies. Embora seu nome permanecesse no título, ele deixou de aparecer no programa após meados de 2006, quando sofreu complicações pós-cirúrgicas relacionadas ao câncer na tiroide, que lhe deixaram incapaz de falar. Ebert terminou sua associação com o programa em julho de 2008, porém em fevereiro de 2009 declarou que ele e Roeper continuariam seu trabalho num novo programa. Em abril de 2010 foi anunciado o fim do programa.As críticas de Ebert eram republicadas em mais de 200 jornais ao redor dos Estados Unidos e do mundo. Escreveu mais de 15 livros, incluindo seu guia anual de filmes, que reúne as suas críticas de cada ano. Em 1975 Ebert se tornou o primeiro crítico de cinema a vencer um Prémio Pulitzer de Crítica. Seus programas de televisão também foram amplamente retransmitidos, e indicados para prêmios Emmy. Em fevereiro de 1995 o trecho da Rua Erie, em Chicago, situado próximo aos Estúdios da CBS, recebeu o nome honorário de Siskel & Ebert Way. Em junho de 2005 Ebert recebeu uma estrela na Calçada da Fama de Hollywood, o primeiro profissional da crítica a receber tal honra. No fim de 2007 a revista Forbes o nomeou "o mais poderoso pundit da América", destronando Bill O'Reilly, Lou Dobbs e Geraldo Rivera. Ebert tem um diploma honorário da Universidade do Colorado, do Conservatório AFI e da Escola do Instituto de Arte de Chicago.

Desde 1994 tinha escrito uma série de críticas, Great Movies, daqueles que considera os filmes mais importantes de todos os tempos. Esta lista e as críticas associadas a ela foram ampliadas, e contém atualmente mais de 300 filmes. A partir de 1999, Ebert apresentou anualmente o Festival de Cinema Roger Ebert, em Champaign, Illinois.

Ebert perdeu a voz em 2006, em decorrência de uma cirurgia para restauração da mandíbula, em face de um câncer diagnosticado no ano de 2002. Em 2011 apresentou à imprensa sua fala computadorizada, à qual deu o nome de Alex.Roger Ebert morreu em 4 de abril de 2013, resultado de complicações devido a um cancer.

Citações Roger Ebert

„I don't know when a film has connected more immediately with my own personal experience.“

—  Roger Ebert
Reviews, Four star reviews, Context: Terrence Malick's The Tree of Life is a film of vast ambition and deep humility, attempting no less than to encompass all of existence and view it through the prism of a few infinitesimal lives. The only other film I've seen with this boldness of vision is Kubrick's 2001: A Space Odyssey, and it lacked Malick's fierce evocation of human feeling. … I don't know when a film has connected more immediately with my own personal experience. In uncanny ways, the central events of The Tree of Life reflect a time and place I lived in, and the boys in it are me. If I set out to make an autobiographical film, and if I had Malick's gift, it would look so much like this. … There is a father who maintains discipline and a mother who exudes forgiveness, and long summer days of play and idleness and urgent unsaid questions about the meaning of things. … The film's portrait of everyday life, inspired by Malick's memories of his hometown of Waco, Texas, is bounded by two immensities, one of space and time, and the other of spirituality. The Tree of Life has awe-inspiring visuals suggesting the birth and expansion of the universe, the appearance of life on a microscopic level and the evolution of species. This process leads to the present moment, and to all of us. We were created in the Big Bang and over untold millions of years, molecules formed themselves into, well, you and me. And what comes after? In whispered words near the beginning, "nature" and "grace" are heard. … The film's coda provides a vision of an afterlife, a desolate landscape on which quiet people solemnly recognize and greet one another, and all is understood in the fullness of time. Review of The Tree of Life (2 June 2011) http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20110602/REVIEWS/110609998

„As an act of filmmaking, it draws us in and doesn't let go.“

—  Roger Ebert
Reviews, Four star reviews, Context: Magnolia is a film of sadness and loss, of lifelong bitterness, of children harmed and adults destroying themselves. As the narrator tells us near the end, "We may be through with the past, but the past is never through with us." In this wreckage of lifetimes, there are two figures, a policeman and a nurse, who do what they can to offer help, hope and love. … The central theme is cruelty to children, and its lasting effect. This is closely linked to a loathing or fear of behaving as we are told, or think, that we should. … As an act of filmmaking, it draws us in and doesn't let go. It begins deceptively, with a little documentary about amazing coincidences (including the scuba diver scooped by a fire-fighting plane and dumped on a forest fire) … coincidences and strange events do happen, and they are as real as everything else. If you could stand back far enough, in fact, everything would be revealed as a coincidence. What we call "coincidences" are limited to the ones we happen to notice. … In one beautiful sequence, Anderson cuts between most of the major characters all simultaneously singing https://www.youtube.com/watch?v=aNmKghTvj0E Aimee Mann's "It's Not Going to Stop." A directorial flourish? You know what? I think it's a coincidence. Unlike many other "hypertext movies" with interlinking plots, Magnolia seems to be using the device in a deeper, more philosophical way. Anderson sees these people joined at a level below any possible knowledge, down where fate and destiny lie. They have been joined by their actions and their choices. And all leads to the remarkable, famous, sequence near the film's end when it rains frogs. Yes. Countless frogs, still alive, all over Los Angeles, falling from the sky. That this device has sometimes been joked about puzzles me. I find it a way to elevate the whole story into a larger realm of inexplicable but real behavior. We need something beyond the human to add another dimension. Frogs have rained from the sky eight times this century, but never mind the facts. Attend instead to Exodus 8:2, which is cited on a placard in the film: "And if thou refuse to let them go, behold, I will smite your whole territory with frogs." Let who go? In this case, I believe, it refers not to people, but to fears, shames, sins. Magnolia is one of those rare films that works in two entirely different ways. In one sense, it tells absorbing stories, filled with detail, told with precision and not a little humor. On another sense, it is a parable. The message of the parable, as with all good parables, is expressed not in words but in emotions. After we have felt the pain of these people, and felt the love of the policeman and the nurse, we have been taught something intangible, but necessary to know. Review of Magnolia (1999), in review for Great Movies (27 November 2008) http://www.rogerebert.com/reviews/great-movie-magnolia-1999

„All of these threads converge, in one way or another, upon an event there is no way for the audience to anticipate.“

—  Roger Ebert
Reviews, Four star reviews, Context: Magnolia is operatic in its ambition, a great, joyous leap into melodrama and coincidence, with ragged emotions, crimes and punishments, deathbed scenes, romantic dreams, generational turmoil and celestial intervention, all scored to insistent music. It is not a timid film. … The movie is an interlocking series of episodes that take place during one day in Los Angeles, sometimes even at the same moment. Its characters are linked by blood, coincidence and by the way their lives seem parallel. Themes emerge: the deaths of fathers, the resentments of children, the failure of early promise, the way all plans and ambitions can be undermined by sudden and astonishing events. … All of these threads converge, in one way or another, upon an event there is no way for the audience to anticipate. This event is not "cheating," as some critics have argued, because the prologue fully prepares the way for it, as do some subtle references to Exodus. It works like the hand of God, reminding us of the absurdity of daring to plan. And yet plan we must, because we are human, and because sometimes our plans work out. Magnolia is the kind of film I instinctively respond to. Leave logic at the door. Do not expect subdued taste and restraint, but instead a kind of operatic ecstasy. At three hours it is even operatic in length, as its themes unfold, its characters strive against the dying of the light, and the great wheel of chance rolls on toward them. Review of Magnolia in Chicago Sun-Times (7 January 2000) http://www.rogerebert.com/reviews/magnolia-2000

„If it is not the worst film I have ever seen, that makes it all the more shameful: People with talent allowed themselves to participate in this travesty.“

—  Roger Ebert
Reviews, Zero star reviews, Context: Caligula is sickening, utterly worthless, shameful trash. If it is not the worst film I have ever seen, that makes it all the more shameful: People with talent allowed themselves to participate in this travesty. Disgusted and unspeakably depressed, I walked out of the film after two hours of its 170-minute length. That was on Saturday night, as a line of hundreds of people stretched down Lincoln Ave., waiting to pay $7.50 apiece to become eyewitnesses to shame..."This movie," said the lady in front of me at the drinking fountain, "is the worst piece of shit I have ever seen." Review http://www.rogerebert.com/reviews/caligula-1980 of Caligula (22 September 1980)

„Sophie's Choice is a fine, absorbing, wonderfully acted, heartbreaking movie. It is about three people who are faced with a series of choices, some frivolous, some tragic. As they flounder in the bewilderment of being human in an age of madness, they become our friends, and we love them.“

—  Roger Ebert
Reviews, Four star reviews, Context: Sometimes when you've read the novel, it gets in the way of the images on the screen. You keep remembering how you imagined things. That didn't happen with me during Sophie's Choice, because the movie is so perfectly cast and well-imagined that it just takes over and happens to you. It's quite an experience. … The movie becomes an act of discovery, as the naive young American, his mind filled with notions of love, death, and honor, becomes the friend of a woman who has seen so much hate, death, and dishonor that the only way she can continue is by blotting out the past, and drinking and loving her way into temporary oblivion. … Sophie's Choice is a fine, absorbing, wonderfully acted, heartbreaking movie. It is about three people who are faced with a series of choices, some frivolous, some tragic. As they flounder in the bewilderment of being human in an age of madness, they become our friends, and we love them. Review http://www.rogerebert.com/reviews/sophies-choice-1982 of Sophie's Choice (1 January 1982)

„The film's coda provides a vision of an afterlife, a desolate landscape on which quiet people solemnly recognize and greet one another, and all is understood in the fullness of time.“

—  Roger Ebert
Reviews, Four star reviews, Context: Terrence Malick's The Tree of Life is a film of vast ambition and deep humility, attempting no less than to encompass all of existence and view it through the prism of a few infinitesimal lives. The only other film I've seen with this boldness of vision is Kubrick's 2001: A Space Odyssey, and it lacked Malick's fierce evocation of human feeling. … I don't know when a film has connected more immediately with my own personal experience. In uncanny ways, the central events of The Tree of Life reflect a time and place I lived in, and the boys in it are me. If I set out to make an autobiographical film, and if I had Malick's gift, it would look so much like this. … There is a father who maintains discipline and a mother who exudes forgiveness, and long summer days of play and idleness and urgent unsaid questions about the meaning of things. … The film's portrait of everyday life, inspired by Malick's memories of his hometown of Waco, Texas, is bounded by two immensities, one of space and time, and the other of spirituality. The Tree of Life has awe-inspiring visuals suggesting the birth and expansion of the universe, the appearance of life on a microscopic level and the evolution of species. This process leads to the present moment, and to all of us. We were created in the Big Bang and over untold millions of years, molecules formed themselves into, well, you and me. And what comes after? In whispered words near the beginning, "nature" and "grace" are heard. … The film's coda provides a vision of an afterlife, a desolate landscape on which quiet people solemnly recognize and greet one another, and all is understood in the fullness of time. Review of The Tree of Life (2 June 2011) http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20110602/REVIEWS/110609998

„I believe that if, at the end, according to our abilities, we have done something to make others a little happier, and something to make ourselves a little happier, that is about the best we can do.“

—  Roger Ebert
Life Itself : A Memoir (2011), Context: "Kindness" covers all of my political beliefs. No need to spell them out. I believe that if, at the end, according to our abilities, we have done something to make others a little happier, and something to make ourselves a little happier, that is about the best we can do. To make others less happy is a crime. To make ourselves unhappy is where all crime starts. We must try to contribute joy to the world. That is true no matter what our problems, our health, our circumstances. We must try. I didn't always know this and am happy I lived long enough to find it out. Ch. 55 : Go Gently

„Speaking in my official capacity as a Pulitzer Prize winner, Mr. Schneider, your movie sucks.“

—  Roger Ebert
Reviews, Zero star reviews, Context: Deuce Bigalow is aggressively bad, as if it wants to cause suffering to the audience. The best thing about it is that it runs for only 75 minutes. … Does this sound like a movie you want to see? It sounds to me like a movie that Columbia Pictures and the film's producers … should be discussing in long, sad conversations with their inner child. The movie created a spot of controversy... Rob Schneider took offense when Patrick Goldstein of the Los Angeles Times listed [2004's] Best Picture nominees and wrote that they were "ignored, unloved, and turned down flat by most of the same studios that … bankroll hundreds of sequels, including a follow-up to Deuce Bigalow: Male Gigolo, a film that was sadly overlooked at Oscar time because apparently nobody had the foresight to invent a category for Best Running Penis Joke Delivered by a Third-Rate Comic." Schneider retaliated by attacking Goldstein in full-page ads in Daily Variety and the Hollywood Reporter. In an open letter to Goldstein, Schneider wrote: "Well, Mr. Goldstein, I decided to do some research to find out what awards you have won. I went online and found that you have won nothing. Absolutely nothing. No journalistic awards of any kind. … Maybe you didn't win a Pulitzer Prize because they haven't invented a category for Best Third-Rate, Unfunny Pompous Reporter Who's Never Been Acknowledged by His Peers..." As chance would have it, I have won the Pulitzer Prize, and so I am qualified. Speaking in my official capacity as a Pulitzer Prize winner, Mr. Schneider, your movie sucks." Review http://www.rogerebert.com/reviews/deuce-bigalow-european-gigolo-2005 of Deuce Bigalow: European Gigolo

„Kids are not stupid. They are among the sharpest, cleverest, most eagle-eyed creatures on God's Earth, and very little escapes their notice.“

—  Roger Ebert
Reviews, Four star reviews, Context: Kids are not stupid. They are among the sharpest, cleverest, most eagle-eyed creatures on God's Earth, and very little escapes their notice. You may not have observed that your neighbor is still using his snow tires in mid-July, but every four-year-old on the block has, and kids pay the same attention to detail when they go to the movies. They don't miss a thing, and they have an instinctive contempt for shoddy and shabby work. I make this observation because nine out of ten children's movies are stupid, witless, and display contempt for their audiences, and that's why kids hate them. Is that all parents want from kids' movies? That they not have anything bad in them? Shouldn't they have something good in them — some life, imagination, fantasy, inventiveness, something to tickle the imagination? If a movie isn't going to do your kids any good, why let them watch it? Just to kill a Saturday afternoon? That shows a subtle kind of contempt for a child's mind, I think. All of this is preface to a simple statement: Willy Wonka and the Chocolate Factory is probably the best film of its sort since "The Wizard of Oz." It is everything that family movies usually claim to be, but aren't: Delightful, funny, scary, exciting, and, most of all, a genuine work of imagination. Willy Wonka is such a surely and wonderfully spun fantasy that it works on all kinds of minds, and it is fascinating because, like all classic fantasy, it is fascinated with itself. Review http://www.rogerebert.com/reviews/willy-wonka-and-the-chocolate-factory-1971 of Willy Wonka & the Chocolate Factory (1 January 1971)

„It's so rare to find a movie that doesn't take sides.“

—  Roger Ebert
Reviews, Four star reviews, Context: It's so rare to find a movie that doesn't take sides. Conflict is said to be the basis of popular fiction, and yet here is a film that seizes us with its first scene and never lets go, and we feel sympathy all the way through for everyone in it. To be sure, they sometimes do bad things, but the movie understands them and their flaws. Like great fiction, House of Sand and Fog sees into the hearts of its characters, and loves and pities them. … "House of Sand and Fog" relates not a plot with its contrived ups and downs but a story. A plot is about things that happen. A story is about people who behave. To admire a story you must be willing to listen to the people and observe them, and at the end of House of Sand and Fog, we have seen good people with good intentions who have their lives destroyed because they had the bad luck to come across a weak person with shabby desires. Review http://www.rogerebert.com/reviews/house-of-sand-and-fog-2003 of House of Sand and Fog (26 December 2003)

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„I said this is the Batman movie I've been waiting for; more correctly, this is the movie I did not realize I was waiting for, because I didn't realize that more emphasis on story and character and less emphasis on high-tech action was just what was needed.“

—  Roger Ebert
Reviews, Four star reviews, Context: I said this is the Batman movie I've been waiting for; more correctly, this is the movie I did not realize I was waiting for, because I didn't realize that more emphasis on story and character and less emphasis on high-tech action was just what was needed. The movie works dramatically in addition to being an entertainment. There's something to it. Review http://www.rogerebert.com/reviews/batman-begins-2005 of Batman Begins (13 June 2005)

„We must try to contribute joy to the world.“

—  Roger Ebert
Life Itself : A Memoir (2011), Context: "Kindness" covers all of my political beliefs. No need to spell them out. I believe that if, at the end, according to our abilities, we have done something to make others a little happier, and something to make ourselves a little happier, that is about the best we can do. To make others less happy is a crime. To make ourselves unhappy is where all crime starts. We must try to contribute joy to the world. That is true no matter what our problems, our health, our circumstances. We must try. I didn't always know this and am happy I lived long enough to find it out. Ch. 55 : Go Gently

„Of course the interview was never used.“

—  Roger Ebert
Reviews, Four star reviews, Context: Let me tell you a story. The day after Columbine, I was interviewed for the Tom Brokaw news program. The reporter had been assigned a theory and was seeking sound bites to support it. "Wouldn't you say," she asked, "that killings like this are influenced by violent movies?" No, I said, I wouldn't say that. "But what about Basketball Diaries?" she asked. "Doesn't that have a scene of a boy walking into a school with a machine gun?" The obscure 1995 Leonardo Di Caprio movie did indeed have a brief fantasy scene of that nature, I said, but the movie failed at the box office (it grossed only $2.5 million), and it's unlikely the Columbine killers saw it. The reporter looked disappointed, so I offered her my theory. "Events like this," I said, "if they are influenced by anything, are influenced by news programs like your own. When an unbalanced kid walks into a school and starts shooting, it becomes a major media event. Cable news drops ordinary programming and goes around the clock with it. The story is assigned a logo and a theme song; these two kids were packaged as the Trench Coat Mafia. The message is clear to other disturbed kids around the country: If I shoot up my school, I can be famous. The TV will talk about nothing else but me. Experts will try to figure out what I was thinking. The kids and teachers at school will see they shouldn't have messed with me. I'll go out in a blaze of glory." In short, I said, events like Columbine are influenced far less by violent movies than by CNN, the NBC Nightly News and all the other news media, who glorify the killers in the guise of "explaining" them. I commended the policy at the Sun-Times, where our editor said the paper would no longer feature school killings on Page 1. The reporter thanked me and turned off the camera. Of course the interview was never used. They found plenty of talking heads to condemn violent movies, and everybody was happy. Review http://www.rogerebert.com/reviews/elephant-2003 of Elephant (7 November 2003)

„It is not too soon for "United 93," because it is not a film that knows any time has passed since 9/11.“

—  Roger Ebert
Reviews, Four star reviews, Context: It is not too soon for "United 93," because it is not a film that knows any time has passed since 9/11. The entire story, every detail, is told in the present tense. We know what they know when they know it, and nothing else. Nothing about Al Qaeda, nothing about Osama bin Laden, nothing about Afghanistan or Iraq, only events as they unfold. This is a masterful and heartbreaking film, and it does honor to the memory of the victims. Review https://web.archive.org/web/20130707210114/http://www.rogerebert.com/reviews/united-93-2006 of United 93 (27 April 2006)

„What Charlize Theron achieves in Patty Jenkins' Monster isn't a performance but an embodiment.“

—  Roger Ebert
Reviews, Four star reviews, Context: What Charlize Theron achieves in Patty Jenkins' Monster isn't a performance but an embodiment. With courage, art and charity, she empathizes with Aileen Wuornos, a damaged woman who committed seven murders. She does not excuse the murders. She simply asks that we witness the woman's final desperate attempt to be a better person than her fate intended. Review http://www.rogerebert.com/reviews/monster-2003 of Monster (1 January 2004)

„Watching Avatar, I felt sort of the same as when I saw Star Wars in 1977.“

—  Roger Ebert
Reviews, Four star reviews, Context: Watching Avatar, I felt sort of the same as when I saw Star Wars in 1977. That was another movie I walked into with uncertain expectations. James Cameron's film has been the subject of relentlessly dubious advance buzz, just as his Titanic was. Once again, he has silenced the doubters by simply delivering an extraordinary film. There is still at least one man in Hollywood who knows how to spend $250 million, or was it $300 million, wisely. Review http://www.rogerebert.com/reviews/avatar-2009 of Avatar (11 December 2009)

„Magnolia is the kind of film I instinctively respond to. Leave logic at the door. Do not expect subdued taste and restraint, but instead a kind of operatic ecstasy.“

—  Roger Ebert
Reviews, Four star reviews, Context: Magnolia is operatic in its ambition, a great, joyous leap into melodrama and coincidence, with ragged emotions, crimes and punishments, deathbed scenes, romantic dreams, generational turmoil and celestial intervention, all scored to insistent music. It is not a timid film. … The movie is an interlocking series of episodes that take place during one day in Los Angeles, sometimes even at the same moment. Its characters are linked by blood, coincidence and by the way their lives seem parallel. Themes emerge: the deaths of fathers, the resentments of children, the failure of early promise, the way all plans and ambitions can be undermined by sudden and astonishing events. … All of these threads converge, in one way or another, upon an event there is no way for the audience to anticipate. This event is not "cheating," as some critics have argued, because the prologue fully prepares the way for it, as do some subtle references to Exodus. It works like the hand of God, reminding us of the absurdity of daring to plan. And yet plan we must, because we are human, and because sometimes our plans work out. Magnolia is the kind of film I instinctively respond to. Leave logic at the door. Do not expect subdued taste and restraint, but instead a kind of operatic ecstasy. At three hours it is even operatic in length, as its themes unfold, its characters strive against the dying of the light, and the great wheel of chance rolls on toward them. Review of Magnolia in Chicago Sun-Times (7 January 2000) http://www.rogerebert.com/reviews/magnolia-2000

„Many moviegoers and video viewers say they do not "like" black and white films. In my opinion, they are cutting themselves off from much of the mystery and beauty of the movies.
Black and white is an artistic choice, a medium that has strengths and traditions, especially in its use of light and shadow.“

—  Roger Ebert
Context: Many moviegoers and video viewers say they do not "like" black and white films. In my opinion, they are cutting themselves off from much of the mystery and beauty of the movies. Black and white is an artistic choice, a medium that has strengths and traditions, especially in its use of light and shadow. Moviegoers of course have the right to dislike b&w, but it is not something they should be proud of. It reveals them, frankly, as cinematically illiterate. I have been described as a snob on this issue. But snobs exclude; they do not include. To exclude b&w from your choices is an admission that you have a closed mind, a limited imagination, or are lacking in taste. First published in the "Movie Answer Man" column (25 July 2004) http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20040725/ANSWERMAN/407250305

„Herzog by his example gave me a model for the film artist: fearless, driven by his subjects, indifferent to commercial considerations, trusting his audience to follow him anywhere.“

—  Roger Ebert
Context: Herzog by his example gave me a model for the film artist: fearless, driven by his subjects, indifferent to commercial considerations, trusting his audience to follow him anywhere. In the 38 years since I saw my first Herzog film, after an outpouring of some 50 features and documentaries, he has never created a single film that is compromised, shameful, made for pragmatic reasons or uninteresting. Even his failures are spectacular.

„In one sense, it tells absorbing stories, filled with detail, told with precision and not a little humor. On another sense, it is a parable. The message of the parable, as with all good parables, is expressed not in words but in emotions. After we have felt the pain of these people, and felt the love of the policeman and the nurse, we have been taught something intangible, but necessary to know.“

—  Roger Ebert
Reviews, Four star reviews, Context: Magnolia is a film of sadness and loss, of lifelong bitterness, of children harmed and adults destroying themselves. As the narrator tells us near the end, "We may be through with the past, but the past is never through with us." In this wreckage of lifetimes, there are two figures, a policeman and a nurse, who do what they can to offer help, hope and love. … The central theme is cruelty to children, and its lasting effect. This is closely linked to a loathing or fear of behaving as we are told, or think, that we should. … As an act of filmmaking, it draws us in and doesn't let go. It begins deceptively, with a little documentary about amazing coincidences (including the scuba diver scooped by a fire-fighting plane and dumped on a forest fire) … coincidences and strange events do happen, and they are as real as everything else. If you could stand back far enough, in fact, everything would be revealed as a coincidence. What we call "coincidences" are limited to the ones we happen to notice. … In one beautiful sequence, Anderson cuts between most of the major characters all simultaneously singing https://www.youtube.com/watch?v=aNmKghTvj0E Aimee Mann's "It's Not Going to Stop." A directorial flourish? You know what? I think it's a coincidence. Unlike many other "hypertext movies" with interlinking plots, Magnolia seems to be using the device in a deeper, more philosophical way. Anderson sees these people joined at a level below any possible knowledge, down where fate and destiny lie. They have been joined by their actions and their choices. And all leads to the remarkable, famous, sequence near the film's end when it rains frogs. Yes. Countless frogs, still alive, all over Los Angeles, falling from the sky. That this device has sometimes been joked about puzzles me. I find it a way to elevate the whole story into a larger realm of inexplicable but real behavior. We need something beyond the human to add another dimension. Frogs have rained from the sky eight times this century, but never mind the facts. Attend instead to Exodus 8:2, which is cited on a placard in the film: "And if thou refuse to let them go, behold, I will smite your whole territory with frogs." Let who go? In this case, I believe, it refers not to people, but to fears, shames, sins. Magnolia is one of those rare films that works in two entirely different ways. In one sense, it tells absorbing stories, filled with detail, told with precision and not a little humor. On another sense, it is a parable. The message of the parable, as with all good parables, is expressed not in words but in emotions. After we have felt the pain of these people, and felt the love of the policeman and the nurse, we have been taught something intangible, but necessary to know. Review of Magnolia (1999), in review for Great Movies (27 November 2008) http://www.rogerebert.com/reviews/great-movie-magnolia-1999

„Lorem ipsum dolor sit amet, consectetuer adipiscing elit. Etiam egestas wisi a erat. Morbi imperdiet, mauris ac auctor dictum.“

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