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The Dead
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Directed by John Huston.
The final film of legendary director John Huston was based on the closing story of James Joyce's Dubliners. Anjelica Huston is top-billed as Gretta Conroy, the niece by marriage of turn-of-century Irish spinsters Kate Morkan (Helena Carroll) and Julia Morkan (Cathleen Delany). At the home of these two curious ladies, Gretta is prodded into remembering her long-dead lover. She tearfully reveals to her husband (Donal McCann) that the deceased boy may well have died on her behalf. Her tale of woe bespeaks the sentiment shared by James Joyce: no matter how long in their graves, the dead will always influence the living. Adding to the film's elegiac quality, it stars Huston's daughter Anjelica and was co-written with his son Tony Huston. ~ Hal Erickson, All Movie Guide
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unclefesteringunclefestering A great final film by a master ...
by unclefestering in unclefestering Blog
loved it.
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"John Huston got everything right when he made The Dead. First, it was a great choice of material. In the past others have tried to adapt James Joyce’s works and failed. Instead of picking a monumental project, Huston picked his best short story. He maintains a brisk pace on this 84 minute masterpiece. Despite the short time, Huston gives us an absolutely brilliant and intimate view of the difference between love and passion and acceptance of what we have. From the humorous and boorish conversations at the Christmas party to beautifully haunting carriage ride home where Greta, played by the director’s daughter, Angelica, tells her husband a devastating secret. The cinematography on this movie is fantastic. Even if the rest of the movie was a disaster (which it isn’t) the transcendent shots would make watching this worth every second. It was a great feather in his cap that he was able to have his children involved in his last film. It is especially fitting si ... " [More]
JimBellJimBell The Departed
by JimBell in JimBell Blog
hasn't rated it.
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"Quickly read a dozen reviews of The Departed (2006), and you will find they talk more about Martin Scorsese than about the film. Some reviewers compare The Departed to other Scorsese films, saying things like it is the best film he has made in the last ten years. But that does not say whether it is a good film. (Have you seen my best film of the last decade? Unwatchable!) Some critics are also delighted that Scorsese has scored a success. “Welcome back, pal!” says one critic. Very chummy, but, again, that does not tell me whether this is a good film. Other critics repeat that he is “America’s greatest living director” and assume, therefore, that the film is good. This film half works and half fails. The suspense is palpable. We care about Billy Costigan, the young guy who dreamed of being a police officer but was railroaded into being a police mole in the Irish mafia. You see the stress getting to him as he starts popping pills; his face tenses, and h ... " [More]
Review by All Movie Guide
All Movie Guide
liked it.
Made while the director himself was not far from death, John Huston's film version of a James Joyce story widely regarded as the finest in English is a gracious tribute to his master. The story, which is set at a small Christmas party in turn-of-the-century Dublin, concludes with a typically Joycean epiphany. While not Joyce's story, which is basically unfilmable, Huston has made a film which softened the writer's criticism of his society, lovingly depicting a world about whose parochialism protagonist Gabriel Conroy Donal McCann feels some ambivalence. The director allows scenes to flow at a leisurely pace, emphasizing the convivial nature of a gathering where all present are enacting long-familiar rituals. When "The Lass of Aughrim" is sung shortly before Gabriel leaves with his wife, Gretta Angelica Huston, she's brought up sharply. It's only after learning the meaning of this song that Gabriel grasps the mystery of Gretta's heart, and the measure of his solitude. While lacking the richness and power of Joyce's story, Huston has created something of a parallel miniature, as he contrasts the nostalgia of the party with a hauntingly Pinter-like distillate of marital dissonance. ~ Michael Costello, All Movie Guide
 



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