Top 5 – Spielberg Subestimado

  1. Império do Sol (1987): “While Spielberg shares Lean’s epic sense of grandeur, Empire of the Sun is pure Spielberg and a perfect match of director and material, focusing as it does on a child separated from his family, whose suburban existence is turned upside down by a mysterious outside force. But unlike previous Spielberg films, this is less a celebration of the wonders of childhood and more a lament for the loss of a child’s innocence. Jim is a boy who doesn’t want to grow up, because to do so would mean having to acknowledge the terrible things that have happened to him, as well as forcing him to consider the childhood that he has lost. Empire of the Sun is a rare Spielberg film (at least up to this point in his career) that doesn’t try to reassure its audience or make everything clear-cut. The film even features an ambiguous conclusion that doesn’t feel like an incongruous upbeat ending that jars with the rest of the film”. [Martin Bamber | Slant Magazine]
  2. Além da Eternidade (1989): “It should be re-viewed as a quintessential Spielberg film; it depicts the belief that our choices are at once motivated by a greater power and a distinct set of humane ethics. That Spielberg filters it all through classical Hollywood narrative tropes is wondrous. Here, all the director’s recurrent stylistic motifs become one with theme: the shafts of heavenly light that appear to emanate from everything, the delicate multiplane framing that both unites and separates the actors, the pop-cultural references that somehow function outside of time.” [Michael Koresky | Reverse Shot]
  3. A.I.: Inteligência Artificial (2001): “Given the reverence surrounding Kubrick, it wasn’t uncommon to find A.I.’s less-liked parts chalked up to Spielberg’s alleged sentimentalizing, while Kubrick’s harrowing vision was praised. Spielberg, for his part, admonished writers for mostly getting the who-did-whats of it wrong. But even he missed the point: A.I. can’t be broken down this way because the resulting work is so fully his from the very opening sequences. The hollow, airless silence at the core of the Swinton home is reminiscent of the similarly vacuumed-sealed apartments of Eyes Wide Shut, yet no one but Spielberg would have bathed it all in that signature otherworldly glow. And if at times, the oddity of David’s intrusion into the home chills like The Shining, it’s only because we so desperately want the warm comforts of E.T. What follows in A.I. wasn’t Spielberg wrestling with Kubrick; it was Spielberg wrestling with himself.” [Jeff Reichert | Reverse Shot]
  4. Indiana Jones e o Reino da Caveira de Cristal (2008): “The pressing challenge of Kingdom of the Crystal Skull is for Spielberg to address the generation that grew up with Indiana Jones and may now feel they have outgrown him. But to avoid that fickle self-loathing (the sort that made the Star Wars generation turn against Lucas’ Star Wars prequels), Spielberg has to raise their appreciation of action-movie tropes. Not an easy task when the lusterless, pandering Iron Man is lavished with praise due to its bland political postures. Crystal Skull’s chase and fight set pieces and its scenes of natural and anthropological spectacle (such as a waterfall sequence that compares to Way Down East) feature comically laid-out cause-and-effect routines (like that land-and-trees car chase), plus untricked-up action-clarity (keeping track of each hard-charging character; balancing strategy, fluke and danger). Virtuosity as, apparently, only Spielberg and editor Michael Kahn know how to do. ” [Armond White | New York Press]
  5. Louca Escapada (1974): “Steven Spielberg in Malickland, with dolly and zoom and a wagonload of familial issues. Astonishingly kinetic, with screen movement continually compounded by camera movement — folks rush to try out their wheels and the young virtuoso tracks after them, the camera in the backseat of the speeding auto turns a full circular pan while dialogue unspools over the police radio. The restlessness finally unsettles, for it is the anxious agitation of stunted children in a landscape of grasping carnivals and disappointed, impotent parents. The family is but a tenuous fantasy, Johnson’s paternal cowboy cannot prevent the violence.” [Fernando F. Croce | CinePassion]

~ por Gustavo H.R. em 17 de fevereiro de 2011.

14 Respostas to “Top 5 – Spielberg Subestimado”

  1. Achei que ele foi subestimadíssimo também A Cor Púrpura! Concorda? =)

    • Não sei… “Cor” fez sucesso de público nos EUA, teve indicações a prêmios, na época. Hoje em dia ele não parece tão popular. Seu eu tivesse expandido a lista, talvez o tivesse colocado.

  2. Eu não olhei LOUCA ESCAPADA e acho ALÉM DA ETERNIDADE cheio de problemas. Os outros, adoro (A.I. é meu filme favorito do diretor), e certamente se enquadram na lista.

  3. Gostei de todos esses, sou fã do cinema do Spielberg, isso de ser subestimado ou ñ é algo q eu ñ dou a mínima importância!
    Abs! Diego!

  4. Gustavo, como odeio “Indiana Jones e o Reino da Caveira de Cristal” eu nem concordo com a presença dele aqui. Colocaria “Indiana Jones e o Templo da Perdição”, pois da trilogia original ele é considerado o mais fraco, algo que é, particularmente, injusto. Também colocaria “Minority Report – A Nova Lei”, uma ficção à frente do nosso tempo que não recebeu a acolhida merecida em seu lançamento.

    • Como não sou muito fã dos dois primeiros “Indiana”, nem pensei em “Templo da Perdição”. Fiz essal ista antes de rever “Minority” em Blu-ray e achá-lo melhor que nunca, mas não creio que ele tenha sido mais ignorado que os filmes rankeados. Ele teve as melhores críticas da década para uma obra de Spielberg, e o sucesso de bilheteria, se não espantoso, não foi desastroso…

  5. Não consigo deixar de achar que o Ryan ainda é o melhor do Spielberg, Munique totalmente esquecido, porém um filmaço!

  6. Esse “Louca Escapada” seria o “Encurralado”? Pra mim é o melhor dele até hoje.

  7. A Cor Púrpura realmente não tem a atenção que merecia, e adoro tanto Guerra dos Mundos, acho que esse é o mais odiado dentre os filmes do Spilba.

Comentários encerrados.