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Reaching for the Moon
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From Award-winning Director Bruno Barreto (View from the Top, Bossa Nova, Four Days in September, Donna Flor and Her Two Husbands). Based on the true love story of Elizabeth Bishop and Lota de Macedo Soares. This sumptuous English-language 50s period piece recounts the years of Pulitzer Prize-winning poet Elizabeth Bishop (Miranda Otto, Lord of the Rings) when she left America to live and write in Rio de Janiero where she would fall in love with well-off architect Lota de Macedo Soares (beautifully handsome Brazilian star Glória Pires). Bonus Features- Featurette, Theatrical Trailer, Closed Captions.
Gorgeously shot against the lush postcard backdrops of 50s and 60s South America. --Entertainment Weekly
Imagines Elizabeth Bishop s extraordinary relationship with the Brazilian architect Lota de Macedo Soares... a battle of creative and romantic egos. --New York Times
Detalles del producto
- Clasificación de MPAA : Unrated (Not Rated)
- Dimensiones del producto : 7.5 x 5.5 x 0.5 pulgadas; 2.4 Onzas
- Número de modelo del producto : 28935790
- Director : Bruno Barreto
- Formato multimedia : Formatos múltiples, Color, Dolby, Pantalla completa, NTSC, Closed-captioned, Envolvente, De pantalla ancha
- Tiempo de ejecución : 1 hora y 58 minutos
- Fecha de lanzamiento : Febrero 4, 2014
- Actores : Glória Pires, Miranda Otto, Tracy Middendorf
- Estudio : Wolfe Video
- ASIN : B00H3RT7M0
- País de origen : EE. UU.
- Número de discos : 1
- Clasificación en los más vendidos de Amazon: nº107,051 en Películas y TV (Ver el Top 100 en Películas y TV)
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For those who aren't familiar with the story, American poet Elizabeth Bishop arrives in Rio de Janeiro on a freighter in 1951. She has a ticket to travel around the world and is taking advantage of the stopover in Rio to see her friend from Vassar, Mary Morse. Bishop is 40 years old and already well known for her poetry, having recently completed a stint at the Library of Congress in the position that was later to be called "Poet Laureate."
A self-declared lesbian with a string of lovers in her past, she soon discovers that Mary is living with Lota de Soares Macedo at a beautiful inland retreat not far from Rio. The scenery is breathtaking - and how could it not be? The views of the Brazilian landscape are worth the price of admission.
Hours after her arrival, Bishop bites into a caju fruit (the fruit that bears the cashew nut at its tip) and has a violent allergic reaction that nearly takes her life. She misses her boat and ends up remaining in Brazil for 15 years in a ménage à trois with Lota and Mary. It's worth noting that Bishop gets by on a fairly decent inheritance from her family and Lota is in similar circumstances, only much wealthier. This is a story about rich people who have a lot of time on their hands.
Otto's interpretation of Bishop is delicately nuanced; she does a masterful job of capturing the poet's moods and quirks. Glória Pires is powerful as Lota. From the old photos online, it would appear that they each bear a strong resemblance to the real person they are portraying. Yet somehow I didn't feel the chemistry between them, or with Mary. While the compulsive attraction between and among them is key to the story, it just didn't work for me. Also, I didn't feel the characters age, or the tensions deepen, over or the evolution of the 15-year relationship. Lota ultimately has a nervous breakdown, which is blamed on Bishop. We see her go straight from commander-in-chief of an enormous landfill project (creation of Rio's famous Flamengo Park) to a pathetic shadow in a mental hospital. If Bishop was the cause of Lota's breakdown, as a movie-goer, I want to understand why.
On another level, I was expecting credit where credit was due in the creation of Flamengo Park. Lota is billed as its creator and "architect," but the park was famously designed by architect Affonso Eduardo Reidy and landscape architect Roberto Burle Marx.* Lota had no formal training in architecture. Furthermore, the house where she lived, which in the movie she claims she designed herself, was in fact designed by architect Sérgio Bernardes. He won a prize for it in 1953 at the II São Paulo Bienal.**
Still, if you want a movie that takes place in a beautiful setting and celebrates the accomplishments of two very strong, very independent women who broke the cultural mold of their time, you will be rewarded.
* For the story of my acquaintance with Burle Marx, see http://www.findingmyinvinciblesummer.info/2013/01/06/roberto-burle-marx/
** For the true story of Flamengo Park and Lota's house, see https://coisasdaarquitetura.wordpress.com/2013/08/30/a-arquitetura-do-rio-de-janeiro-vai-ao-cinema/)
Very nicely photographed, this reminded me of the best of the Merchant-Ivory films. It's not flashy. Indeed there's a quiet to it
that is needed to off-set the melodramatic (even if based in truths) elements of these women's lives. But that doesn't keep it from packing a hell of an emotional punch, and in being bold enough to create characters we care for, but who are also deeply troubled and capable of making bad choices – just like in the real world of relationships we rarely see on screen.
It was also nice to see a gay love story that both acknowledged how difficult being homosexual was in the 1950s, while not becoming a film about that only. This is a film about a complex relationship between two highly creative and wounded souls who
both save and damage each other. The fact that both are women is only a small part of the larger story. It's also one of the only films I've seen capture at least a taste of the struggle and loneliness of the act of writing.
One of those quiet little gems that deserves to be discovered by more people.