Cala a Boca, Etelvina

Cala a Boca, Etelvina

Alligator raiser from the state of Mato Grosso, Brazil, travels to his nephew's, and takes the maid Etelvina for his nephew's wife.

Alligator raiser from the state of Mato Grosso, Brazil, travels to his nephew's, and takes the maid Etelvina for his nephew's wife. . You can read more in Google, Youtube, Wiki


Cala a Boca, Etelvina torrent reviews

Russell G (au) wrote: It is historically interesting, but the scope of subject matter and time this movie attempts to cover is daunting. We meet Cecil Gaines as seven-year-old in 1926 working on a sharecropping plantation. The movie walks us through various stages of his life. Lee Daniels works his way from poor farm hand to a White House Butler serving seven different presidents over thirty-four years. It is a remarkable life story of a man of great dignity and integrity. The story uses Lee Daniels as a mechanism to walk through time and see the enormous challenges and changes in American civil rights. It also tells the contrasting path of his oldest son, who resents his father's seemingly subservient job. The scenes between Cecil and his wife and sons are far more interesting than the scenes of his work at the White House. It makes its political points on a large scale well, but I wish the individual or emotional scales were of greater focus. Forest Whitaker plays the quiet Cecil Gaines well. He conveys a great deal with his physical and facial acting without talking. Oprah Winfrey does such a good job playing his wife; I wish she would act more often. Cuba Gooding Jr., David Banner, and Terrence Howard each do a commendable job as well. Seeing the different actors play famous presidents was a lot of fun. Sadly, the Presidents time on screen is short. We do not fully get to enjoy the performances from Robin Williams, James Marsden, Liev Schreiber, John Cusack, and Alan Rickman. Unexplainably the story completely skips Gerald Ford and Jimmy Carter. Even if they were two of the less appreciated presidents in history, I would still like to see them briefly mentioned. There is a lot of good information in this fictionalized biopic, but it tries to cover so much ground it lacks the concentrated focus that can deliver a poignant emotional impact.

Dipa P (jp) wrote: GREAT STORY...amazing acting and well written, the ending is amazing

The D (fr) wrote: Despite a very conventional, formulaic structure, FF did such a great job of it I didn't mind. That may put some folks off a bit, but there are good reasons behind convention and formula! Rob Brown proves acting is not rocket science (he auditioned for a $300 extra role and Van Zant loved him so much he gave him the lead), and his fresh innocence works well with the old pro Connery. In my inspirational top 10 even if it is a bit sappy. The best movie about being a writer that I've seen. If it seems slow, you are missing it!

Kendall I (br) wrote: It's actually a pretty interesting love story with some decent acting, but it fails to do anything truly spectacular for me. PLOT:Kate (Meg Ryan) has been engaged with a guy named Charlie (Timothy Hulton) for a long time. He takes a trip to Paris without her, because she's afraid of flying, and ends up falling for another French girl. Kate then decides to fly to Paris to try to steal him back. However, while on the plane, she meets an interesting Frenchman named Luc Teyssier (Kevin Kline), who helps conquer her fear of flying. However, Kate doesn't know about Luc's troublesome past and what he's done. In a strange turn-of-events, they end up following each other and get advice for each other's lives. It's a decent plot executed pretty mediocrely. ACTING:The acting wasn't too bad, I'd say. Meg Ryan played a pretty good part as heartbroken Kate and Kevin Kline played a pretty decent part as wannabe-smooth Luc. However, neither of them was really outstanding I'd say. It was a typical romantic comedy. The other shiner would have been Jean Reno as Jean-Paul. He was alright. SCORE:The score wasn't really important. It was made up of some mood-fitting score and a cheesy arrangement of French songs. OTHER CONTENT:This wouldn't have been that bad if it had been executed right, I believe. It was just bland overall. The jokes fell pretty flat, the drama and romance didn't leave a huge mark, and it followed the rom-com formula pretty straight. I did see a bit of potential in it, and the performances weren't too bad, it just didn't end up to be anything more than bland. OVERALL,a neutral movie with a mediocre-executed plot, decent acting, unimportant score, flat jokes, somewhat dull romance, and a too-familiar formula, but it did have some potential and it's not bad-it's just bland.

Andy C (us) wrote: Some good ideas and creepy moments are let down by an uneven script.

Brett C (ru) wrote: Review In A Nutshell:Juliet of the Spirits is the story of a woman who suspects that her husband may be having an affair.The film featured a strong premise but sadly its plot and direction was a bit of a mess. The film's story explores ideas of infidelity, which was the main key that kept me engaged throughout; scenes are delivered to emphasise this but Federico Fellini, the director, restrains it too heavily and instead pushed forward the protagonist's psychological and spiritual conundrums. I am all for a deep character study but for me to engage a film in that way, the film's story should be much simpler and letting the film's ambiguity be only found internally rather than both; Fellini's style overwhelms both the story and the character development, leaving me at times too distant from the film's heart. In a positive note, I was at least able to care for enough about our protagonist that I was curious enough to finish her journey, and Fellini succeeded this through strong establishment of the character early on in the film.I was quite impressed with the film's cinematography, contrasting two different styles, naturalistic and surrealistic. I have read many times that Fellini is known for this dreamlike quality in his films, which I am not yet used to as my first film from the man was I Vitelloni, which takes a much more simplistic and accessible approach. After seeing this film, it is clear to me that I would have to watch the director's films more than once in order to appreciate and understand his visual aesthetic.Nino Rota's musical score for Juliet of the Spirits is also polarising tonally, it goes back and forth from optimistically light to pessimistically deep. Rota's score certainly aided me in gaining a sort of understanding of what Fellini is trying to show on screen, and because of his score, it was easy for me to be orientated of Juliet's perspective; not once did I feel confused on whether we are watching Juliet's psychological visions or actuality.The acting in this film was certainly strong with a breezy performance from Giulietta Masina, showing no signs of melodrama which was surprising as films during this period tend to lean towards that end of the acting spectrum in order for their roles to feel approachable. Most of Masina's performance is found in her eyes which display the truth of her character while the rest of her face displays a shield that projects to the people around her on what she wants them to think she is feeling. As Fellini kept most of the film's focus on Masina's character, the supporting cast was not given enough screen time to deliver a true supporting performance.Juliet of the Spirits is far from Fellini's almost-masterpiece I Vitelloni, but it has enough strong elements that keep it from being atrocious. I just hope as I go in deeper in Fellini's filmography that none of them would fall lower than this film.

Herschel P (ru) wrote: The most overrated movie of all time