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Unstrung Heroes [VHS]
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Dr. Donald E. Ratcliff
5つ星のうち5.0
A parable of modern life
2002年10月19日にアメリカ合衆国でレビュー済みAmazonで購入
This is one of my favorite, all-time movies. I have read the book and while the book is probably more accurate in recounting the actual family experiences, the movie can be seen as a parable reflecting some of the cultural tensions today. The mother, who represents humanism, is dying, leaving behind the scientific method (the father) who is eccentric because he is less than human. The mother and father balance one another. The son is an everyman figure, imitating his father at times, but also taking on the warm, humanistic tone of his mother at times. The recording of experiences with the camera is perhaps the memory of the boy, seeing the injustice of life (the caretaker) but also the warmth of his mother and the craziness of science without the human component.
The boy eventually goes to live with his uncles, who represent postmodern thought--a little crazy, sometimes paranoid, and open to religion (the father is anti-religious, while the mother is open to the more positive aspects of religion, as is often the case with their respective views of the world). With his uncles, the boy tries on their roles of paranoia and craziness, as well as religion, and finds the fit is not too bad, injecting some scientific method borrowed from his father to avoid the apartment owner. The death of his mother brings the symbolic throwing away the home-made movies of the mother by the father--the attempt to erase the memories of humanism, but the boy grabs the tapes and takes them to the synagogue to relive the memories of his mother. It seems that religion provides one last place to feel deeply in modern life, since humanism is so quickly vanishing. The last scene is deeply moving, as the camera (again recording life and existence) has the father, son, and uncles united, as a humanized science allows companionship with postmodern thought because of the everyman figure's acceptance of both.
Funniest scene--in the restaurant. This is a classic moment, regarding the multiple meanings of words an the individual's "take" on life (a very postmodern concept).
I hope it comes out in Blu Ray one of these days. I have watched the movie many, many times, and almost every time I see a bit more of the parable coming to the forefront. That seems to be the result of the film version (whether intentional or not), as the parable does not fit the original book. A great film; it should have received awards for many more things than just the music!
Don Ratcliff, Ph.D.
The boy eventually goes to live with his uncles, who represent postmodern thought--a little crazy, sometimes paranoid, and open to religion (the father is anti-religious, while the mother is open to the more positive aspects of religion, as is often the case with their respective views of the world). With his uncles, the boy tries on their roles of paranoia and craziness, as well as religion, and finds the fit is not too bad, injecting some scientific method borrowed from his father to avoid the apartment owner. The death of his mother brings the symbolic throwing away the home-made movies of the mother by the father--the attempt to erase the memories of humanism, but the boy grabs the tapes and takes them to the synagogue to relive the memories of his mother. It seems that religion provides one last place to feel deeply in modern life, since humanism is so quickly vanishing. The last scene is deeply moving, as the camera (again recording life and existence) has the father, son, and uncles united, as a humanized science allows companionship with postmodern thought because of the everyman figure's acceptance of both.
Funniest scene--in the restaurant. This is a classic moment, regarding the multiple meanings of words an the individual's "take" on life (a very postmodern concept).
I hope it comes out in Blu Ray one of these days. I have watched the movie many, many times, and almost every time I see a bit more of the parable coming to the forefront. That seems to be the result of the film version (whether intentional or not), as the parable does not fit the original book. A great film; it should have received awards for many more things than just the music!
Don Ratcliff, Ph.D.

Leah R.
5つ星のうち5.0
Five Stars
2015年1月11日に英国でレビュー済みAmazonで購入
A wonderful heart warming film. Leah R

François Ascencio
5つ星のうち5.0
une réussite
2009年8月19日にフランスでレビュー済みAmazonで購入
Ce film réalisé par l'actrice Diane Keaton est un film extrêment touchant. Pour un coup d'essai , c'est un coup de maitre. Les acteurs sont excellents. la photo est belle. Le scenario est prenant.

Rich Needham
5つ星のうち5.0
Forget the book...see the movie
2003年6月7日にアメリカ合衆国でレビュー済みAmazonで購入
Sometimes a film should be taken on its own merit and not compared to the book on which it was based. A film by nature creates a fixed reality not subject to the imagination of its viewers, so comparisons will always fall short. This film is full of quiet beauty and captures moments of honest, deep emotions, and, regardless of possible variances from the memoir by Franz (Steven) Lidz and Uncle Danny's unfortunate similarities to "Kramer" from "Seinfeld", it is heartbreaking, life-affirming, and satisfying film experience.
Diane Keaton's first feature length not-made-for-TV directorial debut is a poignant and often humorous story. Young Steven Lidz (Nathan Watt) is a normal boy growing up during the Cold War with his sister, mother, and his slightly quirky father. The father, Sid (John Turturro), is excitable about science and his visions of a techno-topian future, endlessly inventing household gadgets, but he's also a romantic and deeply loves his wife Selma (Andie MacDowell). Those future visions are blurred when Selma's health begins to wane. Unable to cope with the slow demise of his mother, Steven runs away to stay with an odd pair of uncles, who seem to be two extremes of his father. Uncle Danny (Michael Richards) is high-strung and sees anti-semitic conspiracies everywhere, while uncle Arthur (Maury Chaykin) is child-like and finds joy in the simplest of things (he collects lost balls in the park because he believes, if you listen closely as with seashells, you can hear the sound of the children who played with them). There's a hilarious scene where the landlord sees the three outside the building and begins to chase after them; they escape to the apartment as if their lives were being threatened by a raging grizzly bear.
The strange, inventive, and sometimes playful, behavior of Steven's uncles is distracting enough to keep him from brooding about his mother's last days. Instead of filling him with paranoia and neurosis, however, his uncles teach Steven about faith and family and the joys of life. Thomas Newman's ("American Beauty") music is perfectly suited to this bittersweet film. In fact, I bought the soundtrack CD after watching the film for the first time.
By the way...the reviews by "a viewer" from Evanston and "fred q. walrustitty" have absolutely nothing to do with the film, and it's likely the reviewers wrote them as a joke. Unfortunately, 11 out of 15 people believed them and found them helpful.
Diane Keaton's first feature length not-made-for-TV directorial debut is a poignant and often humorous story. Young Steven Lidz (Nathan Watt) is a normal boy growing up during the Cold War with his sister, mother, and his slightly quirky father. The father, Sid (John Turturro), is excitable about science and his visions of a techno-topian future, endlessly inventing household gadgets, but he's also a romantic and deeply loves his wife Selma (Andie MacDowell). Those future visions are blurred when Selma's health begins to wane. Unable to cope with the slow demise of his mother, Steven runs away to stay with an odd pair of uncles, who seem to be two extremes of his father. Uncle Danny (Michael Richards) is high-strung and sees anti-semitic conspiracies everywhere, while uncle Arthur (Maury Chaykin) is child-like and finds joy in the simplest of things (he collects lost balls in the park because he believes, if you listen closely as with seashells, you can hear the sound of the children who played with them). There's a hilarious scene where the landlord sees the three outside the building and begins to chase after them; they escape to the apartment as if their lives were being threatened by a raging grizzly bear.
The strange, inventive, and sometimes playful, behavior of Steven's uncles is distracting enough to keep him from brooding about his mother's last days. Instead of filling him with paranoia and neurosis, however, his uncles teach Steven about faith and family and the joys of life. Thomas Newman's ("American Beauty") music is perfectly suited to this bittersweet film. In fact, I bought the soundtrack CD after watching the film for the first time.
By the way...the reviews by "a viewer" from Evanston and "fred q. walrustitty" have absolutely nothing to do with the film, and it's likely the reviewers wrote them as a joke. Unfortunately, 11 out of 15 people believed them and found them helpful.