This is one superior made movie. I don't know what it as about prison movies but they often work out as such great ones. This one manages to be original as well, due to its approach and just overall execution of it all.It's perhaps that we really start to feel and identify for and with the main character, in a prison movie. We get to see the restrained and strict world he lives in through his eyes and we can hear what he is hearing and almost feel what he is feeling because we as the viewer are so close up to him. In this movie this is even more the case than ever. The story is being told completely from his perspective and also features his narration over the sequences. It makes the movie really an effective one. It of course also helps the movie and story that we can root for the main character, since he is a member of the French resistance that got caught and held in prison by the Nazi's, during WW II. We only see what he sees and only hear what he hears. And this movie uses takes great advantage of this approach. I especially liked the incredible use of sound throughout the movie.But the movie does not only use a great approach, it also manages to build up its story extremely well. I just love how he plan his escape in tiny steps throughout the movie. He picks up up an item here, makes a tool there, sends and gets some information here, studies the guards movements there and takes just tiny steps every time to get closer to his breakout from jail. It's incredible how well and intriguing this works out all for the movie. Fore the movie and its story itself are actually being quite simplistic. This is not an high budget movie and uses limited resources to tell its story with.It's also one of those movies that uses non-professional actors, to add to the movie its realism. This is a thing that was popular for a while with Italian and French film-makers. It did not always worked out too well for just every movie but in this case you can't really complain about it. The characters simply work out, so the acting was convincing and realistic. This is such a great minimalistic movie. It does incredibly well with its simplistic story and concept and picks a wonderful, effective approach to it all.9/10
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From director Robert Bresson (Pickpocket, Au Hasard Balthazar, L'Argent), I read about this film as an entry in the book 1001 Movies You Must See Before You Die, and it definitely, from the critic ratings and descriptions, sounded like a great film. Basically, set during the time of the Second World War, French Resistance member Lieutenant Fontaine (François Leterrier) is captured by the Nazis and is being taken to Montluc prison in Lyon, he attempts an escape when the car travelling is forced to stop, but he is apprehended and beaten, and handcuffed while incarcerated. He is at first in a cell on the first floor of the prison, and out of his window he is able to communicate with three French men who exercise in the courtyard, they obtain a safety pin for him and he is able to unlock his handcuffs, but this is pointless as he is soon moved to a cell on the top floor and no longer wears the handcuffs. Fontaine, now on the top floor in cell 107, notices that the boards in his jail door are joined together with low quality wood, so using an iron spoon he took after a meal he starts to chip away at the wood, after working for weeks he is able to remove three boards, walk around the hallway, and then return to his cell with the door restored. Another prisoner trying to escape is Orsini (Jacques Ertaud), but his attempt is unsuccessful as at the second wall his rope broke, he is beaten by the guards and tossed back in his cell, he is sentenced to be executed in a few days, but Fontaine is not dissuaded to continue his escape plan, using the light fitting in his cell he has made a hook and with old blankets made a rope, he fastens these together with wire from his bed. Following fellow prisoners concerned that Fontaine is taking too long to plan an escape, he is informed in headquarters that he will be executed, and returning to his cell he is soon joined by sixteen year old German army recruit cell mate François Jost (Charles Le Clainche), Fontaine is unsure whether to trust him, he has to decide whether to kill him or take him with him during his escape, the young man wants to escape also, so he is trusted. With the plan ready to go, Fontaine and Jost access the roof of the jail building, and slowly they use the hooks and ropes to climb down to the courtyard, killing the Nazi guard in their way, and then they climb over the wall and make it through an adjacent building, the film ends with the two men successfully walking out of the prison undetected. Also starring Roland Monod as Priest and Maurice Beerblock as Blanchet. Leterrier is a good choice as the leading character imprisoned and condemned, the story of this film is based on the memoirs of real life Montluc prison escapee André Devigny, the scenes were all filmed in the actual prison, and the film is full of mostly unprofessional actors, I agree films like Birdman of Alcatraz, Escape from Alcatraz and The Shawshank Redemption are indebted to this classic and fantastic prison drama. It was nominated the BAFTA for Best Film from any Source. Very good!
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Immediate background:Jacques Becker was dying when he filmed "le trou,and he made it his legacy;it's the tragedy of man caught on the web of life -an admirable metaphor shows two wardens feeding a spider in the undergrounds with a fly-,and anyway unable to escape from the final death.The first thing to bear is mind is that,calling "le trou" a "prison movie" would be an insult.Although adapted from a Jose Giovanni's book -Giovanni had been himself in jail for some time and his depictions are as close to reality as can be-,Becker masterfully transcends his subject and gives something definitely new.Some said it was the final link between "la nouvelle vague" and what the highbrows pejoratively -and thoroughly unfairly- call "cinema de qualité" but Becker had predated that overrated new wave by almost ten years :"rendez-vous de juillet" had already almost everything the young Turks would bring later.First shock is the use of the wide screen,the cinemascope,which Becker had never experimented before;and he achieved the impossible: using this device for a story which takes place ,either in the four walls of a jail,or in the undergrounds and the sewers .The only picture of the outside is seen when the two inmates open a manhole.And the second one is the sound:there's no music at all,except for the final cast and credits -saving the cast and credits for the end was very rare in the contemporary French cinema -But the soundtrack resembles some kind of musique concrete with its relentless thumps, the whispers and the screams inside the cell,the creaking of the doors ,the waters in the sewer;and the final cacophony -which is not unlike the one which Manliewicz used in "suddenly last Summer" the year before- packs a real wallop.Another Becker's tour de force is his description of the prison life:he avoids all the clichés that mar so many "prison movies" (the overpraised "Whatsisname redemption" is no exception):here, the wardens are,most of the time ,kind and friendly,the relationships with the inmates remain polite ,maybe sometimes too much:particularly those between the young man (Marc Michel) and the head warden are almost paternalistic.Another Becker's permanent feature comes back to the fore in "le trou" :friendship,solidarity ,which was already present in "rendez-vous de juillet" and "touchez pas au grisbi".Here it's pure manly friendship and it seems that a certain misogyny is infiltrating Becker's world:during the 2 hours + running time of the movie,we only see one young girl (Catherine Spaak) behind a grille,for a very short while.The only positive woman whom we' ll never see is (naturally) one of the five inmates ' s(Michel Constantin) mother("I almost killed her when I was sent to jail so I do not want to take a chance and try to escape")SPOILER:But even this world where five inmates share everything,where their friendship is "more than I 've ever had "(Marc Michel's character) is collapsing;the first cracks were already here in "rendez-vous de juillet" when some of the young students were giving up on their plans ,to the main hero's (Daniel Gelin)disappointment.But "touchez pas au grisbi" took friendship over everything including money."Le trou" reveals the true nature of man,even if the informer seems completely desperate at the end of the movie.The mammoth task they did ,the hole '(le trou) is nothing but a cul-de -sac and it epitomizes,in a Hustonian way -we're closer to Huston than to Godard ,fortunately,the vanity of everything man can do to escape from his fate,and in the case of Becker ,to escape from death.END OF SPOILERHad Becker ended his career with his three precedent movies (Ali-Baba,Arsène Lupin ,Montparnasse 19),his former masterpieces (Casque d'or,Goupi Main Rouges ,rendez-vous de juillet),could have been tarnished by association.But "Le trou" ,his final masterpiece stands in little danger of bringing this about.
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