thedi vandha raasa is a 1995 indian tamil film , directed by bhoopathi raja and produced by nalini ramarajan .

the film stars ramarajan , kushboo and goundamani in lead roles .

the film had musical score by ilayaraja .

the film was declared superhit at the box office .

thedi vandha raasa

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thedi vandha rasa is a tamil movie , directed by boopathi raja , starring ramarajan , khushboo , gowndamani along with others . here , on the movie page , you will find every thing that you need to know . check out what others are saying about the movie on twitter .
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the music was composed by ilayaraja . the lyrics were writing by kavignar pulamaipithan and kavignar kamakodiyan .
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chinna chinna vanna kuyil . . . | tamil evergreen movie | mouna ragam | movie song
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2 . 5 crore , making it the costliest malayalam film made until then .
the film won three national film awards including the awards for best art direction ( sabu cyril ) , best special effects ( s . t . venky ) and best cinematography ( santosh sivan ) . along with that it won six kerala state film awards . it was released in 450 theaters worldwide , which was the largest release for any indian film until then . [ 5 ]
the film is set in british india in the year 1915 . the story is about a young doctor , govardhan menon ( mohanlal ) , who is wrongly accused of bombing a train carrying 55 people including british officials . he is put in a cellular jail at port blair , andaman and nicobar islands . kaalapani shows the sufferings of hundreds of indian prisoners in the cellular jail , including leading participants of the freedom movement . the extremely inhumane conditions faced by the prisoners in the jail are accurately depicted .
alex draper plays the sadistic jailor david berry , who is of irish descent , while john kolvenbach plays the kind - hearted english doctor , len hutton .
for realistic feel , mohan lal goes to an extent of licking amreesh puri ' s shoes in this film .
the film is shot in the malayalam language . however , numerous portions contain dialogues in hindi , english , tamil , bengali , and german .
the actors include mohanlal , prabhu , tabu , john kolvenbach , vineeth , amrish puri , sreenivasan , annu kapoor , alex draper and nedumudi venu . the film is directed by priyadarsan , with music by ilayaraaja and cinematography by santosh sivan . the songs have been rendered by malayalam playback singers k . s . chitra and m . g . sreekumar . it marked the malayalam debut of prabhu ganesan , amrish puri and tabu .
the basis for the story were existing accounts of life in cellular jail , particularly excerpts from biographies of political leaders of the indian independence movement . most of these excerpts covered the ruthless routine of prisoners in jail , under the command of jailer david barry , major james pattinson walker and petty officer mirza khan . [ 6 ] [ 7 ] [ 8 ]
while the pre - world war i ports were recreated on the andaman islands , several huge sets were built on a 1 . 5 acres space in murugalaya studio , chennai to replicate the cellular jail . in madras , the sets of cellular jail cost about rs 12 lakh to build on 1 . 5 acres at the murugalaya studio . apparently , director priyadarshan was adamant and determined to be faithful to the details of the era . he says :
the andamans had not seen a horse in 20 years . we had to carry four horses there at a cost of about rs 3 lakh . when the filming was over , we presented them to the andamans administration .
[ 1 ] prior to the making of the film , prabhu had broken his knee and during his recovery phase , put on considerable weight . in order to accommodate his physique into the script , priyadarshan altered the character to make him eat constantly in the film . [ 9 ]
. post production took more than four months to complete . composer ilaiyaraaja completed his symphonic score in 16 days ; audiographer deepan chatterji completed the sound design and mix in 90 days . this is the first malayalam film to record in
the music was composed and conducted by ilaiyaraaja . a . r . rahman was initially signed in as the composer of the movie . he was simultaneously working on another priyadarshan film , kabhi na kabhi in hindi . reportedly on the request of lyricist javed akhtar who had scripted ' kabhi na kabhi ' , rahman opted out of kalapani to give full attention to kabhi na kabhi . [ 10 ]
ranjith nair ( 1–14 september 2011 ) .
ഈ സിനിമയെ ഞങ്ങൾ സ്നേഹിക്കുന്നു
( in malayalam ) . vanitha .
this page was last modified on 14 december 2015 , at 10 : 32 .
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the hitcher is a 1986 american road action-horror film directed by robert harmon and written by eric red .

it stars rutger hauer , c. thomas howell , jennifer jason leigh , and jeffrey demunn .

howell plays jim , a young man who gives a ride to a hitchhiker , played by hauer .

after narrowly escaping death , jim repeatedly encounters the hitchhiker , who is revealed to be a serial killer , and the two engage in a game of cat and mouse .

it was released in the united states on february 21 , 1986 .

the hitcher ( 1986 film )

the hitcher [ 1986 ] - rutger hauer / c . thomas howell : truehorror
geoff t ' s hoop - tober 4 . 0 challenge the hitcher ( 1986 )
film noir : the original 1986 film mostly plays out as this ; the original screenplay was even more noir - ish then the actual film .
today’s contenders are ; the hitcher ( 1986 ) vs the hitcher ( 2007 ) . ready ? 3 , 2 , 1 fight !
stealth pun : the film is not called the hitchhiker , but the hitcher , which is a foreshadowing of the film ' s most famous murder .
this is a very good film , rutger hauer is creepy and very good as the hitcher . i can recommend this film if you havent seen it .
seen from this perspective , the film transcript functions as a mediator in the interplay between film and viewer .
with the headline : screen : ' the hitcher , ' terror on the highways .
the hitcher , 1986 . starring : rutger hauer , c . thomas howell and jennifer jason leigh . [ v ] note : one gruesome scene filmed at shoshone and death valley junction .
yeah , because of my relationship with ed feldman and charlie meeker on
the hitcher
, i helped put the financing together for the film .
last june , ign was invited to the texas set of rogue pictures ' the hitcher to observe a full night of filming on the platinum dunes - produced remake ( the original debuted in 1986 ) . be advised : minor spoilers follow .
crew : ( color ) widescreen . available on vhs , dvd . extract of a review from 1986 . running time : 97 min .
is the film under discussion , some readers may now be wondering , the same film widely reviled by reviewers in the united states when it opened in early 1986 ? yes , and it ' s the same film which won the critics award , grand prix , and the tf1 special award at the 1986 cognac festival du film policier . why this discrepancy in the reception between the united states and europe ? why award ( or , for that matter , write on ) a film about which variety in 2004 , eighteen years after it was released , says contains
extreme ultraviolence that [ is ] such a draw for hardcore gore hounds
( leydon ) ?
in a nutshell : renowned film critic roger ebert gave the hitcher zero stars in his review of it in 1986 , and decried the film as
diseased and corrupt
. we wouldn ' t go that far ; in its time the hitcher may have set new records for blood - letting and gore , but it ' s nothing compared to anything in the current torture porn genre . the hitcher is definitely a worthy entry in the horror road movie canon , but it does have a couple of problems that stop it from being elevated to the level of films such as duel or roadkill .
george w . bush served on the board of the company that made this film .
one steve limit : averted when counting both the original film and its sequel . in the original film , one of the arresting officers , donner , is addressed by sergeant starr as jack , while in the sequel , the new hitcher ' s name is jack too .
the hitcher is a highly unimaginative slasher that keeps the tension going with a massacre about every 15 minutes .
( 1986 ) written and directed by savage steve holland ; starring : john cusack , demi moore , joel murray , bobcat goldthwait , tom villa . . .
closely linked with questions of content , aspects of the film form are - in analogy to novel analysis - of special importance here . in the manifold system of the film
in a film that sets out to create one of the all - time great movie psychopaths , the hitcher succeeds on every level . never letting him on - screen for a lot of the…
you know how us film fans always want to recast a film , well today we play the role of producer and this script has turned up on our desk . the next job is to cast the film as if it the year is 2016 , the rules are as simple you can’t use anyone who is in the original film however good or bad you think the film is . so without further ado let’s cast this movie .
actually his blade runner part and the hitcher are probably the best two roles he’s had in his whole career .
rumor has it that there might be a hitcher sequel . care to clear that up ?
every component functions within the overall pattern that is perceived . thus we shall treat as formal elements many things that some people consider content . ( bordwell / thompson 1986 : 25 )
the film must be very close to your heart , since it was your first .
rodney dangerfield ' s college comedy didn ' t graduate top of its class at the box office in 1986 , but it came close . one of the last shots of the opening montage shows dangerfield ' s character golfing , which was taken directly from his other hit film caddyshack .
( 1986 ) directed by robert harmon ; written by : eric red ; starring : c . thomas howell , rutger hauer , and jennifer jason leigh ; available on dvd .
i’ve had problems with the ratings board on every picture i’ve directed except for
undertow
. i got an x rating for
cohen and tate
not specifically for the gore in the film , although my initial cut of the film was much gorier than the film that was released .
we shall call any significant repeated element in a film a motif . a motif may be an object , a color , a person , a sound , or even a character trait . we may call a pattern of lighting or camera position a motif if it is repeated through the course of a film . ( bordwell / thompson 1986 : 37 )
future learning and skills – giving everyone the opportunity to build a lifelong relationship with film .
foe romance subtext : deliberately implied in the original the hitcher , to the point where it creeps out the cops to watch the lead characters interact in the interrogation room .
met with head shaking from its very conception the hitcher remake wasn’t helped by being backed by michael bay’s production company platinum dunes ( who would go on to remake a nightmare on elm street terribly ) . the 1986 original had aged surprisingly well , by 2007 it was a widely respected horror film that no longer carried with it the bad reviews it had suffered years before . news of a remake provoked some to partake in a little revisionist history calling the original hitcher an untouchable classic ( that’s not what the viewing figures in 1986 said ) and there was much indignation at the idea of a redo . original screenwriter eric red worked on the script as a consultant , in exactly which areas his influence took effect though remains unknown .
edited into the hitcher : ' how do these movies get made ? ' ( 2003 ) . see more »
rutger hauer did a lot of the stunt driving throughout the movie which amazed the film crew and even the real stunt drivers .
fresh from topping the us box office with the remake of the amityville horror , director / producer michael bay is to take on the challenge of reworking the classic rutger hauer chiller the hitcher . bay , the director of pearl harbor and armageddon , has already remade the texas chainsaw massacre as producer and is currently at work on a prequel to the 2003 slasher flick . the original 1986 the hitcher starred hauer as a murderer who frames a young man transporting a car from state to state , displaying apparently supernatural powers along the way .
the second film takes up one of the best - known pieces of american literature of the 1920s . f . scott
thirty years later , and this film is considered one of the classics from the 1980s . the film is so iconic , people are organizing a three - day festival in chicago this summer to commemorate the anniversary .
i don’t think we needed too . the whole opening of the film right down to the rain storm and the character…you can see the analogy .
i just have to say this : your hitcher script is probably one of the best scripts i have ever read .
the hitcher
begins and ends with the same sound : a match being struck , flaring into flame . at the beginning of the film , the sound is made by the villain , a hitchhiker who is a mass murderer . at the end of the film , the sound is made by the hero , a young man whose life has been spared so that he can become the special victim of the hitchhiker .
a : you directed your first film
cohen and tate
at the age of 26 .
a young man who escapes the clutches of a murderous hitch - hiker is subsequently stalked by the hitcher and framed for his crimes .
the war film about vietnam was written and directed by oliver stone , who himself was a veteran of the same war . the film won best picture at the academy awards in 1987 , and stone won for best director .
the film was released to 800 theaters and made 2 . 1 million in it’s opening weekend . then came the reviews . . robert ebert famously gave the film zero stars declaring it to be “diseased and corrupted” . other reviewers followed suit accusing the film of being schlock horror that was trying to disguise itself as a hitchcockian thriller . much was made of the film’s violence and was it harshly derided for it .
the hitcher is like if haute tension had mullets , texan police itching to shoot unarmed suspects , and a synth soundtrack .
brilliant film . prefer this version . definitely beats the remake . film is in excellent condition sound and picture . good trusted seller too . 5 star . a + + + + +
[ a literary adaptation is the transformation of the text system drawn from the literary text into the notation of the film - author ' s transl . ]
the hitcher
grants the hauer character almost supernatural powers . although that makes the movie impossible to accept on a realistic level , it didn ' t bother me . i could see that the film was meant as an allegory , not a documentary .
the hitcher
follows the exploits of a homicidal hitchhiker in texas who ceaselessly torments a young driver until he is finally goaded into killing the maniac .
i did not know there was an original ! i actually just watched the hitcher last week out of boredom . good review .
for immediate release : visionary writer / director eric red is teaming with horror equity fund for the new horror movie , white knuckle . eric has crafted a script and will helm the movie based on his novel of the same name . horror fans know eric as the writer of genre favorites , near dark ( 1987 ) and the hitcher ( 1986 ) . … the post creator of near dark & the hitcher partners with horror equity fund for new horror movie , white knuckle first appeared on hnn | urltoken 2018 - official horror news site
how do films like this ever get made ? what could the people who make these movies possibly be thinking about ? calendar posed these questions to executives and film makers who were familiar with or directly involved in
the hitcher .
the film went on to garner a loyal fan base over the years and despite the terrible critical reception upon its release and it is now seen by many to be a cult horror . it is a film that deserves a viewing , rutgar hauer gives menacing life to an incomprehensible villain and the film knows how to build tension .
eric red , ( writer ) , said that the film was inspired by the doors song ,
riders on the storm
.
a powerful , disturbing film well - deserving of its place in the cult pantheon , the hitcher , released in 1986 , is an existential horror movie in which former teen star c . thomas howell takes a drive - away car cross - country from chicago to san diego ( by way of texas ) . there , he picks up hitchhiker rutger hauer , a psychopath without portfolio who systematically terrorizes him into delivering the suicide that hauer himself seems incapable of administering .
the hitcher . . .
the youtube account associated with this video has been terminated due to multiple third - party notifications of copyright infringement .
best bit : jim ' s first encounter with the hitcher is around ten minutes of the most nail - bitingly intense footage available for public consumption .
my favourite film of all time – this may surprise you—is sorcerer , william friedkin’s remake of the great henri - georges clouzot ’s the wages of fear . some may argue that the clouzot film is better ; i beg to disagree .
c . thomas howell . his small role as tyler—one of elliott’s friends who helped e . t . evade authorities—was a precursor of big things to come for howell . many moviegoers remember him from a string of cinematic 80s hits like the outsiders ( 1983 ) , the hitcher ( 1986 ) , and soul man ( 1986 ) . but besides being a film and tv actor , howell has worked with francis ford coppola behind the set as a producer , screenwriter , and director for various projects . he’s also dabbled in reality tv , appearing on a game show called celebracadabra in 2008 , of which he won and was crowned the greatest celebrity magician . howell is set to appear in this year’s anticipated blockbuster the amazing spider - man .
i would never profess to put myself in the minds of other viewers , or question their fealty to the hitcher , but i wager the first thing to come to mind would be hauer’s terrifying portrayal of evil incarnate . howell pales by comparison , appearing out of his league when the two actors are together . the showier , stunt - laden scenes just seem shoehorned into the film to keep viewers with short attention spans entertained . while the hitcher falls short of the classic that some would have you believe , it’s worth checking out for hauer’s deranged , mesmerizing performance , and almost makes me want to forgive the film’s trespasses . if you’re looking for a more successful film about a sociopathic hitchhiker , however , you might consider ida lupino’s 1953 film noir , the hitch - hiker .
i agree with the reviewer , the hitcher is a horror classic . if you haven’t seen either , see the original , do not see the unbelievably bad remake of this movie .
the cars : jim ' s driving a 1975 cadillac seville across the country when he picks up the hitcher . later his nemeisis tries to run him down and kill him in a 1979 cheverolet c - 20 . . . and the cars really aren ' t the point of this film .
yeah , i love it . i did things on that picture that i wouldn’t do now . in retrospect , i like that it wasn’t at all a
safe film
to do for a first picture , it ' s very film noir . for me , the film is a lot like a don siegel picture . it has a really hard edge and a realistic film noir feel to it .
random fact : telegraph film blogger , iain gray , believes the hitcher is actually a critique of the inadequacies of the reagan administration with reference to blue - collar workers . believe it or not , his theory holds up better than ours did about ryder and jim being the same person .
i have had the occasion to see the original on cable but alas , i was too young and too scared to sit through the whole film . now that i am old enough i would love to watch the hitcher . the sequel and remake i ' ll skip . cheers ! buy tv , radio
without the original film ' s subtext of male bonding gone awry , nothing here has a shred of psychological resonance .
the hitcher ( 1 . . .
the youtube account associated with this video has been terminated due to multiple third - party notifications of copyright infringement .
the tomatometer score — based on the opinions of hundreds of film and television critics — is a trusted measurement of critical recommendation for millions of fans . it represents the percentage of professional critic reviews that are positive for a given film or television show .
extremely short time span : the film begins around 5 : 00 am on one day , and ends sometime before noon the next .
i remember enjoying split second a great deal when i first saw it on vhs – a minor cult film amongst friends at the time – but if it wasn’t for the chemistry of the two lead actors and their over - the - top characters , the film wouldn’t be worth watching .
those looking for an intensive review of the film’s development and release should consult deborah caufield’s article for the los angeles times , “‘the hitcher’ gets a ride to hollywood . ” those looking for a close - reading of the film and a more philosophical approach to the movie should take a look at tom whalen’s essay “you’re a smart kid . figure it out . ” both of these writings were extremely helpful in the preparation of this post .
i loved this film . the television serires that i believe was a companion to this was called the hitchhiker . that was amazing too .
, steven ' s picture is chosen as the best film of its production year ( 1951 ) by the american national board of review .
creator cameo : eric red can be seen in a cameo role toward the end of the film as a sheriff ' s deputy escorting the prisoner to the transfer bus .
the hitcher is one of my favourite films of all time . a young man makes the mistake of picking up a hitch - hiker . his mother told him never to do that and he should have listened to her . the hitcher ( played by rutger hauer ) then proceeds to make his life a misery . rutger hauer puts in a superb performance as the villain , he manages to be both sinister and on rare occasions , sympathetic . the rest of the cast also put in good performances , especially the young driver . in some ways it is a silly film , the hitcher is almost supernatural in his abilities , but that doesn ' t matter . he ' s such a deadly opposing force you dread his next appearance . the film does a great job of just hinting at the horror , the scene at the truck stop is a good example . modern films would have shown you everything , this film does not and is better for it . all in all a great film and has stood the test of time well .
at first glance , youíd think the hitcher was just another mid - 80ís slasher movie . the promotional artwork certainly makes it look that way , and if you read the blurb on the back of the video box , the main idea you come away with is that of a young couple being pursued by a psychopath . factor in a 1986 release date , and the slasher signs look unmistakable . but the hitcher is something far trickier and more complex than that , and it is also one of the most unpredictable horror films iíve yet run across . granted , that latter quality comes at a very high price in credibility , but if you can arrange to quiet that little internal voice saying , ďyeah , but how did he . . . where did . . . huh ? ! ē then the hitcher is tremendous fun .
in the nation , andrew kopkind concluded that the hitcher was
too often disgusting [ and ] always real scary at the gastrointestinal level .
likewise for gene siskel in the chicago tribune who found it
as opposed to the first subjective viewing of a film under the conditions of the movie - theatre - dark room , uninterrupted reception , collective sharing of impressions - the topic at issue involves a rational film reconstruction through repeated viewing . access to the film in the form of a videotape and the use of a video cassette recorder ( vcr ) is therefore one of the primary technical requirements . since a film of average length contains about 500 to 1000 shots , the use of a personal computer ( pc ) - the second technical necessity - is suited to an economical processing for the abundant data presented here . whereas in the mean time literary studies ( and linguistic studies as well ) make habitual and regular use of the pc for economical and analytical reasons , the work at film
the reviewers were quick to note a few of the film ' s antecedents ( hitchcock ' s strangers on a train [ 1951 ] , lupino ' s the hitch - hiker [ 1953 ] , laughton ' s the night of the hunter [ 1955 ] , spielberg ' s duel [ 1971 / 1983 ] ) and in a few instances even found reasons to praise the film ' s look , but inevitably bypassed the opportunity for reflection , preferring instead to sneer at the film ' s
unmotivated viciousness
( new york times , janet maslin ) . for michael wilmington , writing in the los angeles times , the hitcher was
an interview with writer / director boots riley about his incendiary new film ,
sorry to bother you .
college hill review :
you ' re a smart kid . figure it out .
: robert harmon ' s the hitcher ( page 1 of 3 )
of course not ! this is the hitcher , after all . the next scene had jim being surprised and accosted by john ryder . jim presses against the bars of his cell to peer into the dark . that ' s when ryder appears and reaches through the bars to grab jim by the neck . ryder delivers a cryptic warning and , almost as soon as he appeared , the terrifying hitcher vanishes .
in gary sherman’s 1986 film hauer played nick randall , a cia operative turned l . a . bounty hunter . he’s hired to track down a terrorist ( gene simmons , no less ) who blew up a cinema full of people ( while they were watching rambo ) . the brilliantly overblown action sequences , hauer’s harmonica blowing , the bright blonde eighties haircut you could set your watch by – what’s not to love ?
credits : the commentaries , the “making - of” documentary , and the shorts by harmon and hauer are all found on the 2 - disc uk dvd edition of the hitcher . china lake is particularly noteworthy , as harmon seems to have made the perfect audition film for a feature - length debut with the hitcher . we’ve added eric red’s two short films , gunmen’s blues and telephone , for added reference . we might be a little over - zealous in proposing an introduction by hollywood blockbuster movie director christopher nolan , but nolan is on the record as being a fan of the film and his comments on the movie would really elevate the regard of this title and the label . we selected michael gingold as an essay writer given his service as host to a screening of the hitcher earlier this year at the alamo drafthouse cinema in new york and given arrow video’s past inclusion of fangoria articles in their booklets .
this is the uk 18 cert dvd of the hitcher . it ' s the optimum / studio canal release & apparently this print is uncut , so many thanks to the reviewer ( s ) for that gem of info . the picture quality ' s very decent , 2 . 35 : 1 the top and bottom black bars are quite chunky though . it ' s basically a top shelf game of ' cat & mouse played out in a stark featureless environment . throw in an unstable rutger hauer , shake the dvd box a bit and your left with a fantastic film . extras : commentary , the hitcher : how do these movies get made ? ' , & a trailer . not watched extras . run time : 1hr 33min 21secs . 1986 trainer tongue in front of jeans . sheriff station no . 7
a sequel exists with c . thomas howell returning , but i’d rather not know what happened to jim halsey . watching the hitcher has proven that sometimes the questions are more entertaining than the answers .
the hitcher began its life within the mind of twenty year old writer eric red , who came up with the concept of the film after repeat listenings of the doors song riders on the storm on a cross country car ride from new york to texas . with no backing or connections ( just a homemade short film , entitled gunman’s blues in his back pocket ) red began writing the hitcher . red’s enthusiasm for violence and gore would later become famous among those in hollywood who read the script . the original screenplay was riddled with unrelenting bloody murder . when he had completed his script , red sent letters to hollywood producers proclaiming his script to a bloody thrill ride and stated ;
the story on its surface is a simple initiation tale . youth ( c . thomas howell as jim halsey ) picks up a hitchhiker ( rutger hauer as john ryder ) who is a killer . the two curiously bond . a young woman ( jennifer jason leigh as nash ) tries to help the youth falsely accused of the hitchhiker ' s crimes . the hitcher , somewhat supernaturally , again and again comes to the rescue of the youth , though he also , alas , captures and kills the young woman . finally arrested , the hitcher escapes police custody , leading to the final confrontation between halsey and the hitcher , whom the youth kills .
the film is extremely gory , especially for its time ( one of the producers calls it “a bloody , wet film , ” in an exhaustive 1986 profile in the l . a . times ) , and yet it suggests much more . this is especially true in the money scene , one of those graphic moments that people talk about after they leave the theater — which red professionally terms “rippers” — in which a young jennifer jason leigh is drawn and quartered by an 18 - wheeler , for no apparent reason other than that janet leigh ( no relation ) unexpectedly dies in psycho .
p . s . another eric red movie that doesn’t get the love it deserves is ‘100 feet’ ; a deeply underrated ghost film .
in 1986 , hauer taught us a valuable lesson about why you should never ever pick up hitchhikers , even if they appear to be hopping to their grandma’s funeral on a fractured shin bone . hauer’s hitcher john ryder is a total madman , whose favourite pastimes include murder , mayhem , blowing things up and playing nasty tricks with severed fingers . the movie as a whole is pretty grim , but hauer’s performance sticks in the memory like a butcher knife in the sternum .
records the screened information . as a precise model for a later description of filmic details and for a quick re - orientation throughout the film , the film - transcript displays a table with eight columns , presenting the serial number of shots , the serial length , the duration of each shot in seconds , the framing of the image and the camera movement , the description of the ongoing action , the dialogue and the musical score plus sounds ( buchloh 1980 ) .
in the end , the only thing that does scare you about ' the hitcher ' is its emptiness : not the emptiness of a desert road or a fear - soaked night , but a shriveling void in the people who made it .
and under - heard , for the hitcher ' s aural motifs , as those of , say , robert culp ' s hickey & boggs ( 1972 ) or jerzy skolimowski ' s the shout ( 1978 ) , exemplify how sound can give meaning and form to film . two aural motifs , rising out of the background of wind and car engines and mark isham ' s score , dominate the sound design of the hitcher : the striking of matches and gunshots . the viewer sees these motifs as well , of course , but at times the sounds are commentative , heard but imposed from outside the film ' s present narrative reality . for example , when halsey , a young man taking a drive - away car from chicago to san diego , first picks up the hitcher one stormy night in rural texas , the thunder we hear mimics the sound of a gun shot . in another scene , when the hitcher tosses car keys to jim halsey in an abandoned garage , we hear the chhhhhh sound of a match striking though no match is seen , as if the keys moving through the dust - filled light were a lit match .
tags billy green bush c . thomas howell eric red gene davis jack thibeau jeffrey demunn jennifer jason leigh john m . jackson jon van ness robert harmon rutger hauer the hitcher
a young man who escaped the clutches of a murderous hitch - hiker is subsequently stalked , framed for the hitcher ' s crimes , and has his life made into hell by the same man he escaped .
road locations 1 : halsey and the hitcher driving by the volkswagen - barstow road , lucerne valley , ca ( 34 . 688877 , - 116 . 970642 ) halsey pushing the hitcher out of his car - e lake mead blvd , henderson , nv ( 36 . 147306 , - 114 . 889622 ) halsey trying to warn the family about the hitcher - fort irwin rd , barstow , ca ( 34 . 955845 , - 116 . 913937 ) halsey discovering the dead family - fort irwin rd , barstow , ca ( 34 . 907830 , - 116 . 920170 )
slasher
or
gore
movies tend to rely on blood and gruesome effects , rather than on plot . the grisly effects are graphically depicted . in
hitcher ,
most of the gruesomeness , such as the ripping apart of the woman , takes place off - camera . that , the film makers said , made the film more
hitchcockian
in implied shock value than
cronenbergian
( as in director david cronenberg ' s
scanners ,
in which heads blow up ) .
one movie that still made an impression was the hitcher . despite being panned and scanned from 2 . 35 widescreen in the cinema down to 4 : 3 on videotape ( the way i first saw it ) , the story ' s power was increased by deliberately avoiding always showing the gore while suggesting very violent scenes . aided by the suspense and emotional impact on the characters , the film was memorably surprising and chilling without troubling the censors .
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that was actually something that rutger came up with . there’s maybe a type of sexual charge between the hitcher and the kid but it certainly wasn’t intended to be some kind of homoerotic allegory .
ign chatted with stars bean , bush , and knighton , as well as director meyers , in - between the filming of the aforementioned scenes . bush sees the hitcher as a character study disguised as a thriller .
it has thus to be re - emphasized that a still presents just one part in the whole system of the filmic process . technically , a film consists of single shots and a film analysis - in a similar way as with novel analysis - breaks up the whole work into the different layers in order to point out specific techniques and effects . in addition to the camera work , dialogue , music , mise - en - scène , etc . , digitalised stills drawn from the film specific points enrich both the analysis and the interpretation by illustrating the film ' s method of character presentation , figure interaction and the use of visual leitmotifs , as is referred to in the given example ( see still from
the producers later said that they felt that the film’s failure derived from not showing the actual death of nash , saying that robbing the audience of the gore of her death was anti - climatic and a let down .
and as noted , on the strength of previous horror adaptations of the texas chainsaw massacre and the amityville horror , michael bay’s platinum dunes company , in conjunction with rogue , the horror division of universal’s independent arm focus features , is currently developing a remake of the hitcher for a proposed 2007 release . red sold at least the sequel rights , if not the remake rights ( the two are usually but not always bundled together ) , to hitcher producer charles r . meeker some time after the 2000 accident , and meeker produced the straight - to - video hitcher ii : i’ve been waiting in 2003 , written by one molly meeker . the elder meeker is listed as a producer on the hitcher remake , and the script appears to be based on red’s original screenplay , although it is unclear whether or how much he will prosper financially . both platinum dunes and focus features refused to comment .
the hitcher [ 1986 ] ( special edition ) [ dvd ] : urltoken rutger hauer , c . thomas howell , jennifer jason leigh , jeffrey demunn , john m . jackson , billy green bush , jack thibeau , armin shimerman , gene davis , jon van ness , henry darrow , tony epper , john seale , robert harmon , charles r . meeker , david bombyk , edward s . feldman , kip ohman , paul lewis , eric red : dvd & blu - ray
original content © 2010 - 2015 by barry polin . images are the property of film copyright holders . awesome inc . theme . powered by blogger .
the film of the song : the movie was inspired by
riders on the storm
by the doors :
there ' s a killer on the road / his brain is squirming like a toad / take a long holiday / let your children play / if you give this man a ride / sweet memory will die . . .
just to drive the point home , the movie opens on the road in a storm , and the hitcher gives his name as john ryder .
of course such visual and aural patterns are difficult for viewers to detect in a single viewing , but they are essential to the understanding and appreciation of this underrated film . as we traverse its semantic landscape of collisions and ruptures , the hitcher operates as a remarkable mechanism of form generating patterns and more meanings , drawing us back ( aesthetically ) from the abyss as surely as it ( epistemologically ) draw us to it . on the one hand it directs us to reduce it to abstraction or even allegory . what else can we do with a name like john ryder ? on the other hand ( e . g . with the name jim halsey ) , the film establishes a ( relatively ) firm realistic base to which the film ' s psychology adheres . but then the name nash & dash ; well , isn ' t a nash a deceased automobile ? down the center line of the continuum between the realistic and the fantastic drives the hitcher , leaving more than a few critics and viewers befuddled in the backseat .
written by the very talented eric red ( who never seems to get the recognition and respect he deserves ) , the hitcher ( 1986 ) is a thrilling movie that is held in high regard by most fans of the horror genre . i agree with the fans of the movie and think that it kicks all sorts of ass . it holds up very well when compared to other horror films that were made around the same time period and is a lot better than the majority of scary movies being made today . do yourself a huge favor and check out this movie as it is a modern horror classic in my humble opinion .
great film and a classic . i saw the re - make with sean bean but this version does not have the same feel as the original . this one ( the original ) is way better and has more psychological suspense . needs to be watched to appreciate the film . the acting is also great with good performances by c thomas howell and rutger hauer ( the man from the 80 ' s beer commercials ) .
arrow video has just announced new april release dates for both the upcoming blu - ray of the chiodo brothers ’ classic horror - comedy killer klowns from outer space , and also alexandra heller - nicholas ’ academic non - fiction novel based on eric red ’s the hitcher . the chiodo brothers’ killer klowns from outer space will be hitting blu - ray on april 4th and alexandra heller - nicholas’ the hitcher will be hitching [ … ]
often enough , it is in the exposition that the various motifs are carefully presented . almost with psychological necessity the exposition thus becomes the criterion for the viewer . seen in retrospective , it gives the film its visual and thematical frame , as the given examples will illustrate .
where the film falters is its over - reliance on road chase sequences , with plentiful car crashes and explosions , which only divert the audience from ryder and jim . the hitcher becomes the shaggy dog of thrillers , as one situation builds off of the next , making the film more unbelievable as it progresses . when things get out of hand , it’s hard to imagine the local authorities wouldn’t have called for assistance from state police or the fbi . as the body count escalates , logic would dictate he’d put as much distance between himself and ryder as possible , instead of checking into a local motel with nash .
the hitcher is a highly unimaginative slasher that keeps the tension going with a massacre about every 15 minutes . film proves mom’s admonition not to pick up hitchhikers , especially if they’re anything like john ryder , a psychotic and diabolical killer played with a serene coldness by rutger hauer . along comes an innocent young man ( c . [ … ]
the ballad of narayama
is a japanese film of great beauty and elegant artifice , telling a story of startling cruelty . what a space it opens…
established itself as an immediate success in its publishing year of 1925 and credited its author once more with being the spokesman of the jazz age . two years later hollywood turned out a silent film version , which was followed by a second adaptation in 1949 , presenting the box - office magnet alan ladd in the lead . months before the opening of the jack clayton - film in 1974 , this production was advertised by a huge campaign . the built - up expectations - mainly for a major romance - could not be reached . the film flopped both at the box - office and at critical reception . nevertheless , a re - examination in the context of this analysis credits it as a thoroughly structured and very well produced film with the potential of a classic .
o final dos filmes se tornou pra mim algo mais importante do que o seu início ou as cenas sequentes . em
the hitcher
( a morte pede carona ) não foi diferente .
overall the hitcher garnered a very bad name for itself and horror remakes in general . though i do feel that in hindsight in 2007 no one truly realized how bad the remake pandemic was going to get ( friday the 13th ( 2009 ) a nightmare on elm street ( 2010 ) et , al ) and in comparison to dreck such as those , the hitcher remake does not have quite so many sins to atone for .
red has widely claimed that the film was based on the doors song “riders on the storm” : the ominous thunderstorm at the beginning , the “killer on the road” and the rest of it ; the hitcher’s name is “john ryder . ” the film ' s influence can easily be seen in modern - day mainstream horror fare like breakdown , joy ride and jeepers creepers . historically , it is probably a bridge between the slasher or splatter genre on display in the grindhouses of times square in the late ’70s , during red’s adolescence — the driller killer , i spit on your grave , bloodsucking freaks — and at least the impulse behind those mainstream horror franchises ( halloween , friday the 13th , a nightmare on elm street ) that continue to serve as cash cows for the studios two decades later .
a young man who escaped the clutches of a murderous hitch - hiker is then subsequently stalked , framed for the hitcher ' s crimes , and has his life made into hell by the same man he escaped .
- imdb
curiously , or not , the hitcher is a movie that ' s always forgotten among the horror lovers crowd . and and i don ' t understand why has it is such a good movie with the 3 actors in their best .
hauer is fantastic in this film . i only wish the rest of the movie was up to his standards , but as you mentioned , sometimes we only want to be entertained .
the original hitcher was a concept - driven thriller penned by eric red that followed jim halsey ( c . thomas howell ) as he made the mistake of picking up hitch - hiker john ryder ( rutger hauer ) . jim did not have a college girlfriend named grace in the film , but he did become involved with a diner waitress named nash ( jennifer jason leigh ) .
the underused neal mcdonough carves an interesting role out of very little as the police captain in charge of the chase . when he gets angry , it occurred to me he ' d have made a far more interesting hitcher than sean bean .
worse still , using that nine inch nails track that backed the opening titles to se7en is the clunkiest way to spoil the best action scene in the film . the soundtrack abruptly opts out of steve jablonsky ' s score like a bad playlist .
the film spawned a sequel in 2003 , the hitcher ii : i ' ve been waiting , with howell returning to the role of jim halsey . a remake , produced by michael bay and directed by dave meyers , was released on january 19 , 2007 , which starred sean bean as john ryder , zachary knighton as jim halsey , and neal mcdonough as esteridge . the remake added a female protagonist named grace andrews , who was portrayed by sophia bush . in the film , andrews survives , while halsey suffers nash ' s fate . the movie was released to generally negative reviews .
is an unnerving , perplexing film that vacillates between being an intimate thriller and an action movie , like hitchcock filtered through michael bay’s lens . despite a lukewarm critical and box office reception , the film has gained a loyal cult following over the years , thanks in no small part to rutger hauer’s chilling performance as the titular character . set in the dusty american southwest ,
editing provides the key for the analysis , since the film ' s components such as scenes , segments and sequences are formed by single shots ( linear , successive design ) . a shot - by - shot
the air mail , 1925 . director : irvin willat . paramount pictures . note : filmed at rhyolite . willat restored the “bottle house” to use in this film , a modern western .
wanderer of the wasteland , 1923 - 24 . director : irvin willat . paramount pictures . note : based on zane grey’s novel . hollywood’s first all color film .
thus begins robert harmon’s the hitcher . emerging in the mid eighties as an enigmatic and intelligent if violent thriller , the hitcher carved a place for itself amongst the glut of dime - a - dozen slasher sequels . harmon , who has gone on to a successful career as a director of tv crime dramas , notably the movie gotti and the series
homicide : life on the streets
, paints the picture of a cross - country road trip detoured into a hellish nightmare for young jim halsey as portrayed by c . thomas howell .
can be found in the first third of the film - they all present the long extended , static and presumably
unexciting
meetings of george and alice , the factory - worker he is dating until angela vickers be comes interested in him . the film ' s editing pace is accelerated in the various meetings with her , the woman from the upper - class . the subjective , psychological time now also moves faster , since alice was drowned and the moment of george ' s arrest is coming inevitably closer .
the transmission of some of the table data into a diagram offers a useful examination of the film ' s linear development . other diagrams can be constructed in this connection , whose form would differ from the presented one - e . g . of the figure
even though the sequel to 1984 ' s the karate kid didn ' t get reviews as good as the first film , it raked in a lot more money at the box office . despite being set in japan , the movie was filmed in hawaii .
c . thomas howell ' s character is now an adult , obviously haunted by his bad experiences with road trips . despite the lesson he learned the hard way , he winds up picking up another hitcher with plenty of baggage .
emphasizes the film ' s visual information . a young man ( george eastman ) is introduced immediately as the protagonist . at the end of the establishing shot , the camera zooms up to his face in a close - up . with the character apparently appearing out of nowhere this procedure creates a curious tension for the figure ' s
story .
the oversized bill - board
it ' s an eastman
is set up as an indicator for the unfolding of the filmic narration . it directs the hitcher george directly to eastman himself , the head of the swim - suit factory . as one of the film ' s leading visual symbols , it is connected with the main theme of the protagonist ' s persistent pursuit of the american dream . morally and socially encoded conventions are neglected for romantic reasons , which leads to an inevitably tragic end .
stylistical and narrational principles of the same novel and film , of the presentation of the story in place and time form the centre of interest here . the film ' s
narration
is defined as a process , as an activity of collecting and arranging
story material in order to achieve specific time - bound effects on a perceiver .
( bordwell 1985 : xi ) questions of point of view as well as figure characterisation are constitutive within this process . with regard to the overall structure of the film , the repeated use of certain motifs should be given special attention . filmic motifs occur on different levels :
strike me down with all of your hatred : there are occasional hints in the original film that the title character is trying to get jim to kill him in order to fulfill this trope .
hourglass ( 1995 ) —“michael jardine , ” director avc : you had another significant career transition when you starred in the film hourglass , which was also your directorial debut .
worth watching ? if you ' re up for a one - note splatter - fest , the hitcher delivers with aplomb . just don ' t expect anything like character development or a screenplay which answers any of the questions it presents .
the film - transcript thus provides information about the film ' s structure , its design and style . especially important in this respect is the time factor . it shows the length of each shot in seconds - it marks suspense climaxes ( fast succession of cuts ) as well as extended periods of time ( slow succession of cuts ) . if the time - data are taken separately , the linear course of the film can be presented in a shot - length diagram . with the duration of each shot in seconds filled in vertically and the seriel number filled in horizontally , the filmic course of time and the editing pace can be viewed at a glance . with several films at issue , different styles in the unfolding of the action may evolve .


children of sarajevo ( bosnian : djeca ) is a 2012 bosnian drama film directed by aida begić .

the film competed in the un certain regard section at the 2012 cannes film festival where it won the special distinction award .

the film was selected as the bosnian entry for the best foreign language oscar at the 85th academy awards , but it did not make the final shortlist .

children of sarajevo

tiff ' 12 : ' children of sarajevo ' spotlights a sister and brother hanging on : monkey see the drama children of sarajevo follows a sister trying to keep her brother out of trouble .
marija pikic plays rahima , who ' s trying to keep her brother safe in children of sarajevo .
looking for movie tickets ? enter your location to see which movie theaters are playing children of sarajevo near you .
marija pikic plays rahima , who ' s trying to keep her brother safe in children of sarajevo . toronto international film festival hide caption
rarely will you see a film that spends as much time looking at the back of its lead ' s head as children of sarajevo , which won a special award from the jury at cannes earlier this year .
aida begic’s children of sarajevo ( djeca ) is a passionately stark story of the strength of family , driven by an intense sense of honour and compassion as a young woman who has found strength in her religion tries to help her younger brother , who had previously lived in an orphanage .
a broken family serves as a metaphor for a damaged society in”children of sarajevo , ” the ambitious second feature from bosnian helmer - writer aida begic , whose underlying theme here is the country’s lost moral compass as it remains trapped in a torturously slow transition from a state of war . slated to open the sarajevo fest in july , [ … ]
bosnian director aida begic returns with a second feature film about a generation busy reconstructing their lives after the siege of sarajevo .
talking to other queue dwellers waiting to get into children of sarajevo , many had already pegged this one as a “duty” film , one that they’d added to the list to make sure their international film festival is truly international . this one checks off the “eastern european” box apparently .
born in sarajevo in 1976 , she graduated in directing at the sarajevo academy of performing arts in 2000 . her graduation film first death experience was presented at the cinéfondation official selection of the 2001 cannes film festival and won numerous awards worldwide . in 2003 she wrote and directed her second short north went mad . her debut feature film snow won the grand prix at critics’ week in cannes in 2008 . she now teaches directing at the sarajevo academy of performing arts , has directed numerous documentaries , commercials , videos and promo films , and in 2009 founded the independent production company film house . children of sarajevo is her second feature and played at cannes this year in the un certain regard section .
a passionately stark story of the strength of family , driven by an intense sense of honour and compassion .
the story is intercut with news footage from the bosnian war – not exploitative of overly dramatic , but of scenes of groups of children playing , singing and trying to lead as normal a life as possible . the film ends on new year’s day with a measured and modest life - affirming moment of brother and sister bonding again .
was awarded the cineuropa prize at the 18th sarajevo film festival after a un certain regard special mention at cannes .
through multiple repetitions of rahima’s daily routine , we observe the stark contrasts of postwar sarajevo , where flashy new villas and fancy cars coexist with grinding poverty . corruption and injustice have empowered violent thugs in many walks of life , and the government’s privatization schemes line the pockets of politicians and criminals at the expense of the needy .
a broken family serves as a metaphor for a damaged society in” children of sarajevo , ” the ambitious second feature from bosnian helmer - writer aida begic , whose underlying theme here is the country’s lost moral compass as it remains trapped in a torturously slow transition from a state of war . slated to open the sarajevo fest in july , this tale of two orphaned siblings eschews a traditional narrative arc , providing instead a slice of life at a particular moment in time . potent drama is more accessible than begic’s debut “snow , ” and should reach a larger , albeit still niche , arthouse audience .
in comparison , brief flashes of rahima’s memories from the years of the sarajevo siege depict a time of more human connection and fellowship . these recollections not only provide a historical context for the narrative , but also suggest that ordinary people’s dreams about the reconstruction of bosnian society have been replaced by a sad nostalgia .
he 38 - year - old aida begić is the bosnian film - maker who won the grand prix at the critics week in cannes four years ago for her debut feature , snow . now she is in the un certain regard section with this followup film , which she has written , produced and directed . children of sarajevo – the original title , djeca , means
children
– is set in the present - day city , in which the ghosts of a terrible past loom all around . the movie does not entirely tie up its narrative threads , but the strange , potent atmosphere makes up for this .
official sff pitch : rahima ( 23 ) and nedim ( 14 ) are orphans of the bosnian war ( 1992 - 1995 ) living in sarajevo , a transitional city that may have lost its moral compass , given the way the children of those who died fighting for the city ' s freedom are treated . after a crime - prone adolescence , rahima has now found comfort in islam and she hopes her brother will follow in her footsteps .
rahima ( 23 ) and nermin ( 14 ) are orphans of the bosnian war . they live in sarajevo , a transitional society that has lost its moral compass , including in the way it treats children of the people who were killed fighting for the freedom of their city . after crime - prone adolescent years , rahima has found comfort in islam and she hopes her brother will follow in her footsteps . their life of bare survival becomes even more difficult after nedim gets into a fistfight at school with the son of a local strongman . this incident triggers a chain of events leading rahima to the discovery that her young brother leads a double life…
rahima ( 23 ) and nedim ( 14 ) are orphans of the bosnian war . they live in sarajevo , a transitional society that has lost its moral compass , including in the way it treats children of the people who were killed fighting for the freedom of their city . after crime - prone adolescent years , rahima has found comfort in islam and she hopes her brother will follow in her footsteps . their life of bare survival becomes even more difficult after nedim gets into a fistfight with the son of a local strongman and breaks his expensive mobile phone . this incident triggers a chain of events leading rahima to the discovery that her brother leads a double life .
rahima ( 23 ) and nedim ( 14 ) are orphans of the bosnian war . they live in sarajevo , a transitional society that has lost its moral compass , including in the way it treats children of the people who were killed fighting for the freedom of their city . after crime - prone adolescent years , rahima has found comfort in islam and she hopes her brother will follow in her footsteps . everything becomes more difficult the day nedim gets into a fistfight at school with the son of a local strongman . this incident triggers a chain of events leading rahima to discover that her young brother leads a double life…
a microcosm of the fathomless suffering that remains more than 16 years since the siege of sarajevo ended , writer - director aida begic’s follow - up to her 2008 cannes critics’ week grand prize - winning debut snow tells the story of two orphaned siblings struggling in a transitional society where only the fittest survive .
a microcosm of the fathomless suffering that remains more than 16 years since the siege of sarajevo ended , writer - director aida begic ’s follow - up to her 2008 cannes critics’ week grand prize - winning debut snow tells the story of two orphaned siblings struggling in a transitional society where only the fittest survive .
she works in the kitchen of a sarajevo restaurant , retaining a polite and non - confrontational presence , but finds things slowly spiralling out of control when she is called to nedim’s school after he gets into a fight with the son of a prominent government official , and then she finds he is helping courier a gun and documents .
written and directed by the sarajevo - born aida bejic , it tells the story of rahima ( marija pikic ) , who ' s assumed guardianship of her teenage brother , nedim , after the deaths of their parents . she works as a cook in a restaurant and spends most of the rest of her time trying to keep nedim from getting into trouble . she ' s also a muslim who ' s recently started wearing a headscarf , which puzzles some of her friends and has , nedim insists , increased the number of people at school who pick on him .
jermaine fowler and omari hardwick of sorry to bother you take us back in time to the worst jobs of their careers .
i have to admit , like the other patrons , i wasn’t expecting to be overjoyed by writer / director aida begic’s slice of social realism set in contemporary sarajevo , in the aftermath of the bosnian war . by the film’s conclusion though , i have a sneaking suspicion begic is working off our preconceptions .
working again with her husband , erol zubcevic , as cameraman , begic opts for a visual style and rhythm that is the complete opposite of her first feature . while “snow” featured long static shots and bright colors , “ children ” unfolds mostly at night , with the jittery shoulder - mounted camera in near constant motion . the grain of the images suggest a documentary truth to match the period video material used for rahima’s memories .
already scooped up to open the 18th sarajevo international film festival in july , the bosnian / german / french / turkish co - production , which is interlaced with real people’s video footage of their lives during the war that convulsed the balkans , should play well on the international festival circuit .
anchoring the unfurling drama is a compelling central performance from dark - eyed marija pikic as rahima , a 23 - year - old restaurant worker living in battle - scarred sarajevo . her demeanour is hushed and contained , yet a smart mouth and occasional detonations of bitterness hint at buried anguish .
xan brooks : just as they were in danger of nodding off , cannes delegates are hit with an inexplicable big bang of a movie . do not adjust your specs …
a bosnian - herzegovinian filmmaker continues her chronicle of the post - war years . twitter
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post traumatic life of the bosnian muslim widows and daughters after their husbands and fathers were murdered by bosnian serb army . plot is set in post war eastern bosnian village near town of zvornik .
a woman and her daughter struggle to make their way through the aftermath of the balkan war .
the action is interspersed with eerie fragments of the past : there is a woozy analogue home - video of children singing , and vivid tv news footage , with scan - lines across the screen , of terrified people fleeing the siege . rahima will be shopping or making coffee , and we will hear deafening explosions ; begić allows the audience to think , for a split second , that the war has begun again . actually , these are the fireworks that teenagers are throwing around in the run - up to new year ' s eve . we hear clanging and screeching like the arrival of a tank – and it turns out to be building work going on in the neighbouring apartment . but these are echoes , and re - echoes , of the terrible detonations that have not entirely died away . the war was not all that long ago , and begić conveys a sense of tension and fear , a sense that it has all simply been buried , and not all that far below the surface .
after what we are led to understand were some earlier years on the wrong side of the law , she has found sanctuary in the teachings of islam and hopes the mantle of her religion can also shield her brother nedim ( ismir gagula ) , a typically wilful and self - centred 14 - year - old , from the harshness of existence in a post - war culture where corruption and violence flourish .
the three - day weekend gross ( excluding previews ) of july 6 - 8 was £6 . 2m
aida begić’s powerful , pertinent drama depicts a generation growing up in a country knowing nothing of stability .
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aida begic ' s film tells the story of two orphaned siblings struggling to survive during the bosnian war .
the official entry of bosnia and herzegovina to the best foreign language film at the 85th academy awards 2013 .
but back to looking at the back of rahima ' s head . bejic is particularly fond of very long takes and tracking shots , whether she ' s following rahima through the kitchen at work or following her on a walk through her neighborhood . and when bejic as a director follows , she really follows — the handheld camera is on the back of rahima ' s head , giving the distinct impression that she ' s constantly being pursued — which is about right , given the dire nature of some of what she ' s facing .
he is , incidentally , a diabetic and the stress of keeping him safe and of convincing the orphanage that she is a competent guardian , is palpable . when the monosyllabic nedim gets into a fight with the son of a crooked local official and breaks the boy’s expensive cell phone , finding a way to replace it is only the beginning of rahima’s problems as she discovers her little brother is in even deeper trouble than she’d feared .
marija pikic is striking as the haunted rahima . the camera is often placed just behind her shoulder and follows her through the bleak war - torn streets of sarajevo as she strides with a sense of purpose , barely reacting to the happenings around her . the film makes no attempt to reveal what might have happened to her in the past , though it is clear her relationship with nedim is less than perfect - she works hard and is rarely around - and he even comments at one point that he would rather have stayed at the orphanage .
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production : a film house sarajevo , rohfilm , les films de l ' apres - midi , kaplan production . ( international sales : pyramide intl . , paris . ) produced by aida begic . co - producers , benny drechsel , karsten stoter , francois d ' artemare , semih kaplanoglu . directed , written by aida begic .
in a parisian suburb of bagnolet two receptionists who work in the lobby of the titular high - rise drift from one enigmatic situation to the next going to the pool , visiting a maze - like sex club and hunting for new employment .
rahima and her 14 year - old brother nedim ( ismir gagula ) live a low - key life in a simple flat in sarajevo . after crime - prone adolescent years – which are implied but never really developed in the film – rahima has found solace in islam , and hopes that her brother will follow her example and find a better life .
the official entry of bosnia and herzegovina to the best foreign language film at the 85th academy awards 2013 . see more »
other tech credits are solid , though opinions will be divided about the use of classical music at the pic’s beginning and end .
crew : camera ( color , dv ) , erol zubcevic ; editor , miralem zubcevic ; production designer , sanda popovac ; costume designer , sanja dzeba ; sound ( dolby srd ) , igor camo . reviewed at cannes film festival ( un certain regard ) , may 21 , 2012 . ( also in sarajevo film festival - - opener . ) running time : 90 min .
the academy award for best foreign language film is handed out annually by the u . s . - based academy of motion picture arts…
prior to her first cannes screening of the film she said to the audience that it was a shame she was “unable to bring a happier film to cannes” , and while that may be then case , the drive of the film is the inner strength and determination that sees 23 year - old rahima ( an excellent marija pikic ) doing all she can – and against all the odds – try and keep what remains of her family together .
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although one might wish for greater character development and more backstory , begic’s screenplay leaves the past as background , letting the occasional line of dialogue serve as exposition .
a story set in the former yugoslavia and centered on a guy who returns to herzegovina from germany with plenty of cash and hopes for a good new life .
i know the importance [ of making movies ] from the war years . . . we do have the need for art , it makes us human .
a poor boy of unknown origins is rescued from poverty and taken in by the earnshaw family where he develops an intense relationship with his young foster sister , cathy .
set against the backdrop of a cold balkan winter , with new year’s fireworks recalling the sound of mortar fire , the narrative centers on hardworking restaurant cook rahima ( marija pikic , impressive ) , 23 , who struggles to make ends meet while looking after her juvenile - delinquent brother nedim ( ismir gagula ) , 14 . the lad is causing trouble in school , where he is scorned by some of his nouveau - riche classmates , and rahima’s got enough on her plate without social services breathing down her neck .
from bosnia / herzegovina : amar finds a new job working with a community of muslims . this affects his relationship with his girlfriend luna as his beliefs begin to change .
necessarily sober and quietly challenging , the un certain regard entry shows a filmmaker whose passion for her subject has now twinned with a maturing proficiency to deliver a drama of some power .
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rahima , 23 ans , et son frère nedim , 14 ans , sont des orphelins de la guerre de bosnie . ils vivent à sarajevo , dans cette société transitoire qui a perdu toute compassion pour les enfants de ceux qui sont morts pendant le siège de la ville . après une adolescence délinquante , rahima a trouvé un réconfort dans l’islam , elle espère que nedim suivra ses pas . tout se complique le jour où à l’école , celui - ci se bat avec le fils d’un puissant ministre du pays . cet incident déclenche une série d’événements qui conduiront rahima à découvrir la double vie de son jeune frère . . .
the plot provides for some dramatic reversals for rahima , and these are arguably not satisfactorily resolved and absorbed into the film ' s fabric . but it creates a disturbing feeling of a city haunted and menaced by its past .
this is a story about pain , search for meaning in life and friendship of orphaned . syrian boys - isa , ahmed and muataz - who live a difficult life as refugees in the magical , mythical . . . see full summary »
part of the story here is that rahima doesn ' t have as much help as she needs , really ; raised during a war , she ' s up against everything trying to corrupt her brother , a system that would be just as happy to cart him off to an orphanage and a boss who ' s too much of a jerk to even give her the slip that shows how much money she makes so she can prove she ' s fit to keep nedim with her .
a roma family lives far from the urban centres of bosnia - herzegovina . the father nazif salvages metal from old cars and sells it to a scrap - dealer . the mother senada keeps the house tidy , . . . see full summary »
marijana ' s life revolves around her family , whether she likes it or not . they live on top of one another in a tiny apartment , driving one another crazy . then her controlling father has a . . . see full summary »
rahima ( marija pikic ) is a muslim woman in her twenties who works long hours in a restaurant kitchen to provide for the teenage brother nedim ( ismir gagula ) who lives with her , but who is drifting into bad ways . they are orphans of the 90s bosnian war , but never allude directly to their parents . her recent decision to begin wearing the headscarf , however , has evidently triggered old tensions , and nedim is now getting bullied at school by the pampered son of a local politician .
at its heart , this is a relatively simple story of a sister trying to keep her family together . but it ' s also a fine opportunity to be reminded that directors have a lot of options when they compose shots , and the fact that they don ' t usually shoot a certain way doesn ' t mean they can ' t . it ' s very unusual to watch an actress so intently from behind as she takes a purposeful stroll , but the technique works well here to create the tension and worry that comes from seeing a lead character constantly moving away from the camera .
there ' s such remarkable tension within this character that when , fairly late in the film , she takes her headscarf off and you see her shake out her hair for the first time , it feels revelatory — not because wearing her hair down is better than the scarf by any means , but because it ' s a figurative exhalation of breath that she hasn ' t taken until that very moment .
the incident leads her to find out that her brother is dabbling on the edge of criminal activities , but she is determined that he should try and escape that life . her inner strength begins to come to the fore – initially inexpressive and non - confrontational she is also a woman determined to protect her brother , to the extent that she confronts the official in the knowledge there is likely to be repercussions from the police .
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a broken family serves as a metaphor for a damaged society in this potent drama from bosnian helmer - writer aida begic .
with : with : marija pikic , ismir gagula , nikola djuricko , jasna ornela bery , bojan navojec , stasa dukic , aleksandar seksan , velibor topic , mirela lambic , sadzida setic , mario knezovic , vedran dekic , sanela pepeljak , semir krivic , mehmed porca , adnan omerovic , ravijojla lesic , vedrana seksan .
although rahima wears a headscarf , marking her as a devout muslim , it is implied that she , too , had run - ins with the law during a wild adolescence at the orphanage . while she now treads the straight and narrow , she continues to make it clear that no one can push her around .
as rahima , tightly wound pikic moves like a whirlwind , providing a momentum that compels visual interest and matches the prowling handheld camerawork . nikola djuricko proves a strong presence as tarik , rahima’s potential love interest , even though he has relatively little screentime . unfortunately , the weakest performance comes from young gagula , who fails to evince any nuance as the sullen teenager .
cast : with : marija pikic , ismir gagula , nikola djuricko , jasna ornela bery , bojan navojec , stasa dukic , aleksandar seksan , velibor topic , mirela lambic , sadzida setic , mario knezovic , vedran dekic , sanela pepeljak , semir krivic , mehmed porca , adnan omerovic , ravijojla lesic , vedrana seksan .
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dir / scr : aida begic . bosnia herzogovina - germany - france - turkey . 2012 . 90mins
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siblings rahima and nedim are the bosnian war orphans . she works as a restaurant chef and earns just enough money to survive .
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an adolescent who leaves rural cambodia to become a construction worker only to be reunited with his missing older brother .
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påminde en del om dardennes
rosetta
tyckte jag . helt ok misärfilm men tyckte inte att den hade en bra avslutning , det kändes som den fegade ur . svag 3 : a .
trust the old eastern bloc to put a dampener on the fun and frivolity .
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