Las obras de ayer

Las obras de ayer


Les Luthiers is a comedy-musical group from Argentina, very popular also in several other Spanish-speaking countries such as Paraguay, Peru, Chile, Ecuador, Spain, Colombia, Mexico, Uruguay and Venezuela. They were formed in 1967 by Gerardo Masana, during the height of a period of very intense Choral Music activity in Argentina's state universities. . You can read more in Google, Youtube, Wiki


Las obras de ayer torrent reviews

Nicholas V (gb) wrote: It made me want to be a camp counselor, and really happy which is all I really need in a movie...the happy part :)

Greg W (jp) wrote: good period piece com-dram

Stonewall S (it) wrote: Okay, i'm slow ...but I want to find this.

Nada G (nl) wrote: like what i see so far, can't wait to see the movie.

Lovyn L (gb) wrote: Predictable but interesting still.

Matthew C (au) wrote: Another film I saw at the City of Angels Film Festival. Great film! It was outrageous seeing how someone can remain convicted with so little evidence because of racist courts.

Simon D (fr) wrote: This is the first Agatha Christie story I've seen and I'm not really impressed. The formulaic way in which the story unfurls was very basic indeed. The whole set up was totally unrealistic too. I tried to overlook these flaws but it didn't get much better. The only interesting part was mystery but it should be more than that really.

Gary B (nl) wrote: As goog a cleanup job as can be expected on HD-DVD. Some good footage of the band on tour and captures the time. Bit of crap subplot with radio DJ trying to get interview but a good chance to appreciate Abba in their prime.

Leigh R (it) wrote: Hmmm... I don't quite have the words to say how much this movie was completely insane. I don't know for sure if I like it or not. Decisions, decisions.

Edith N (it) wrote: Predictable but Pleasant Really, any biopic ought to be predictable. That's kind of their nature. Of course, in this era, one of the things you can predict is that they'll leave some things out if they don't quite fit the Code. Even today, they'll throw out things which don't fit the story they want to tell. None of the stories of Lillian Russell (Alice Faye) and her romantic life here are quite what they were in reality except, possibly, her relationship with the two men in the movie who want to marry her but don't. They existed. It is believed that they wanted to marry her. They didn't. Indeed, the Henry Fonda character is, at best, a complete exaggeration of her real fourth husband. Better yet, her most predictable relationship in the entire film is the fictional one. It almost makes you wonder why they bother at all. Helen Leonard, Lillian Russell to be, wants to be a star. A music instructor tells her that she'll never be an opera singer, but Tony Pastor (Leo Carrillo) hears her singing and puts her in his music hall. She knows that her mother doesn't want her on the stage, so she changes her name. Her grandmother (Helen Westley), however, knows and supports her. One day before Helen becomes Lillian, she and her grandmother are in a carriage which runs away with them. They are rescued by Alexander Moore (Henry Fonda), a would-be reporter. He falls in love with Helen, and she likes him well enough. However, once she's the belle of the music hall, she is courted by the Famous J. L. (Warren William), or Jesse Lewisohn, and Diamond Jim Brady (Edward Arnold). She becomes fabulously successful, and Moore is just kind of there. What interests me is that they left in the fact that Russell's mother, Cynthia Leonard (Dorothy Peterson), was a famous suffragette. They even left in the fact that her mother ran for mayor of New York City. Oh, she lost spectacularly, but that was, at the time (1888), hardly the point. She hadn't expected to win. She might have expected to get more than about a hundred votes, but the point was to make the point. This is actually featured in the movie. I don't know why; it's nothing to do with the plot. They left out Russell's stormy relationship with her mother, but they left out the husband, and the elopement was what caused the trouble. Even had they kept the estrangement in and changed the cause, that still isn't really a reason to leave in the suffrage bits. I'm not complaining, mind, and it might be an interesting story to tell in its own movie, but I'm still confused. All in all, I'm not sure how much the story of Lillian Russell comes across unscathed. She eloped at eighteen--because she was pregnant. Yes, she did marry Edward Solomon (Don Ameche)--a year after their daughter was born and five years after her son had died. Yes, she married Moore--fourteen years after divorcing her third husband. Also, far from collapsing at his piano while writing a wonderful song for Russell, Solomon and Russell divorced seven years after his arrest for bigamy. It is generally agreed that she was often a companion of Diamond Jim Brady, but how close their friendship was is still a subject of historical debate. By cutting off literally at the minute she and Moore get together, the movie avoids the fact that Russell's recommendation that there be a moratorium on European immigration for five years pretty well got passed into law in 1924, arguably costing many European Jews their lives. But you know. This movie was nominated for Best Art Direction (Black-and-White) and lost to [i]Pride and Prejudice[/i]. This makes me think two things. Number one, if it had to be nominated for an Oscar, I'm glad it was Art Direction and not Costume Design. The costumes are period-appropriate, but in general, they're the bad ones. This is not the height of fashion from 1879 to whenever the movie ends, though Russell's own clothes aren't generally terrible. And, really, Henry Fonda's problem is more his hair than his clothing. When Gwen came in to talk to me about something, she expressed great horror at Grandma Leonard's ensemble and demanded to know why Henry Fonda had Eddie Munster's hairdresser. At a fashionable dinner a bit later, I myself became confused as to what exactly Russell had on her head. The other thought I had was that [i]Pride and Prejudice[/i] must be awfully pretty to have deserved to beat [i]Rebecca[/i], nominated the same year.

Art S (nl) wrote: Of course, even in 1939 this was viewed as racist (and banned in India) for its portrayal of a blood-thirsty Kali-worshipping cult by whites in brown body-paint (and all other Indians as subservient to the imperialist British occupiers). So, if you can set these problems aside (and that's a big "if"), then you'll find a perfectly rollicking adventure story starring Cary Grant (in a funny Cockney role), Victor McLaglen, and Doug Fairbanks Jr. Of course, it is a big of a macho affair but generally comic and light-hearted -- especially in the way that McLaglen and Grant don't want poor old Doug to get married and leave the army (and try a number of schemes to get him to stay). The setting (presumably California) is grand with huge mountains in the background and we see some major action set pieces (this is a war picture after all) and it is pretty apparent that Spielberg ripped off parts of the plot for Indiana Jones and the Temple of Doom. Gunga Din, the poor old water boy (played in by Sam Joffe), does save the day and becomes the centerpiece of a Kipling poem.

Margarita S (au) wrote: Oh, these two... Love the chemistry. Love the humour. Love the script. A super fun, light romantic comedy.

Gordon S (br) wrote: Paul Schrader's (screenwriter of TAXI DRIVER and RAGING BULL) very good account of the younger Father Merrin (strong work by Stellan Skarsgard) and his encounters with evil both demonic and human in the archaelogical and mission field. Most scares are generated from realistic conflicts between Christian/European and tribal African cultures, and acts of war violence. Good but not great as a general interest film, but a must see for horror buffs. Vastly superior to Renny Harlin's cluttered and loud EXORCIST: THE BEGINNING.

Brett E (fr) wrote: Julia Roberts pretending to be Julia Roberts. That is ALL I have to say about this garbage.

Sarah G (jp) wrote: Although in some places it's a bit slow, as a whole I found "Operation Petticoat" rather humorous and charming. In the beginning, the only thing that entertained me about it was seeing Cary Grant in uniform as Capt. Sherman [gotta love a man in uniform;^]. Then entered Lieut. Holden [played by Tony Curtis], a man who's a bit of a playboy and doesn't really take his position as a Navy Officer seriously. His many antics as the supply officer of Sherman's sub keep things fairly lively 10,000 leagues under the sea. It's not until the five nurses come aboard the sub though that the games really begin. It's like a hilarious estrogen fest aboard a place that's usually so "testoroney" as my friend Rebecca would say. It's amazing how five women can effect so many men under such tight quarters. Probably one of my favorite parts was when Holden stole a pig from a farmer on an island and snuck it aboard the sub; he did so by dressing the pig up in a navy shirt and hat, telling the security officer he was a drunk sick soldier which would account for the The ending is very charming in that two of the nurses end up marrying Grant & Curtis's characters [don't blame them...who could possibly pass up marrying Grant; I know I couldn't]. War films are typically rather dull for me, which is why the fact that WWII is not the main focus of the film works for me [though for war buffs it might annoy]. In short, it's not Cary Grant at his best, but as it's Grant, it's still good.