Heated tempers, frustrated desires and dashed hopes plague a diverse group of individuals whose lives cross paths in Mexico City. There is the bar-owner's son, Chava, who yearns to emigrate to America. A poor barber, Abel, is madly in love with the gorgeous Alma, who eventually becomes a high-class prostitute. Finally, there is Susanita, the desperate spinster who pursues many love affairs in hopes of finding a husband.
- Stars:Ernesto Gómez Cruz, María Rojo, Salma Hayek, Bruno Bichir, Delia Casanova, Margarita Sanz, Claudio Obregón, Juan Manuel Bernal, Abel Woolrich, Luis Felipe Tovar, Daniel Giménez Cacho, Gina Morett, Óscar Yoldi, Esteban Soberanes, Eugenia Leñero,
- Director:Jorge Fons,
- Writer:Vicente Leñero (screenplay), Naguib Mahfouz (novel)
Based on the Nobel Prize Winner's novel, the Egyptian Naguib Mahfouz. The story, translated from El Cairo to Mexico City's downtown, narrates the life of the members of the neighbourhood ... . You can read more in Google, Youtube, Wiki
Midaq Alley torrent reviews
(us) wrote: It was very interesting .
(nl) wrote: I love David Boreanaz but I didn't enjoy this movie that much
(ca) wrote: I've liked Akshay Kumar in the few movies I've seen him in, and I LOVE Priyanka Chopra. Lara Dutta is good in this when she isn't bleeding... but I haven't seen her elsewhere and Johnny Lever is always good for a laugh. Seems like an okay film looking at the cast alone, but this is baaaad. Run Forrest, Run? really? kinda pathetic. Get the songs, though. There is only one bad song out of the 5 or 6.
(nl) wrote: Y la moraleja de la historia es que la prxima vez que vayas a comprar una pelcula seas tu el que decida y no tu madre.
(ag) wrote: Mother Night has long been my favorite Kurt Vonnegut book, so it's with a little relief that I found the movie to succeed on almost every level. The story - about an American who rises through the Nazi ranks and is hated for his crimes after the war, yet may have secretly been an American spy - is among Vonnegut's more oblique ones, and there's not a truly clear moral to this story. Yet, to the film's credit, it embraces this, following the story through the insanity (Frankie Faison very nearly steals the movie as the Black Fuehrer of Harlem) and through the drama, and it's all anchored by what may be one of Nick Nolte's finest performances. Bringing a lifetime of experience to the role, Nolte mixes self-interest, self-loathing, intelligence, and guilt all into an unforgettable blend, truly bringing Campbell to life on the screen. The supporting cast is generally great (to be fair, I tend to love Arkin and Goodman in almost anything), although Sheryl Lee struggles a little during the dramatic scenes to juggle pathos and her accent. Gordon's direction overpowers the film a little, most notably in the use of black-and-white for the framing device, but it doesn't wreck the film. No, it's a remarkably strong adaptation of Vonnegut, done with intelligence and a wry, if dark, sense of humor.
(es) wrote: Wanted to like it because...hey, it's Depp and Walken, right? However, within the last 15 minutes of the movie I wanted them to use one of the six bullets on my eyes because I couldn't stop watching the contrived and miserably stupid ending!
(ag) wrote: Sweet rom-com based on a play (which usually makes - as it does here - for a good script) about two Jewish New Yorkers being set up by the local match-maker. Starring Amy Irving, 12 years on from Carrie, and Peter Riegert in his appealing Local Hero era, this was the favourite film of an ex-boyfriend... awwww...
(au) wrote: Oh Hell I really wanna see this Movie. I cannt get it anywhere. Its soooooo hard to find it. Even not on VHS. Ahhxchhh.."GRRRRRRRR..
(ru) wrote: Two seminal musicals of the fifties were Porgy and Bess and Carmen Jones. Both had black casts which was subversive for the time period, and both were operas. The main actress is the sultry Dorothy Dandridge, who would go on to become the first black woman to be nominated for a Best Actress Oscar for this film. She co-stars with Harry Belafonte, who was most famous at the time for bringing Calypso music to prominence in the United States. Though both were singers, and famous for their presence on screen and off, they were both dubbed. One reason for this was the fact that the music was operatic and the two singers who dubbed were opera singers, one of which was the soon to be famous Marilyn Horne. Most of the cast was apparently dubbed for this large scale musical, the lyrics for which were written by Oscar Hammerstein the 2nd. The original music was actually from George Bizet's Carmen, a French opera about a gypsy who seduces a soldier and then double crosses him. The film pretty much follows the main plot of the opera, except that the time period has been changed to World War Two, and they made it an all black cast. Many historians have prompted that the choice to make the entire cast black and excluding any white participants "feels like a relic from the gruesome social straitjacket that was segregation." (Andrew Pulver) I do agree with this, especially when the story transfers to large cities and there's no diversification in the shots which just feels strange. I did like that like George Gershwin's Porgy and Bess this gives African American performers, without an outlet, to be given their just dues in an industry that was very white at the time. The music can be obnoxious at times, because it's from the original Carmen opera yet the lyrics' subjects are about dancing, fighting, and cards which at times feel conflicting. The cast is brilliant, including the swishy hipped Dorothy Dandridge as Carmen Jones herself. The best performance was Harry Belafonte, who at first seems so likable and prideful, but unravels under Carmen's gaze and eventually cracks. This film has since been added to the National Film Registry and has made a sure impression on popular culture. Really an enjoyable gem of a film.
(mx) wrote: Wow. Shane is AMAZING. I honestly expected to loathe it as a sentimental, smaltzy product of lazy Hollywood. But it was nothing I expected. It felt authentic, powerful and human. A beautiful film and easily one of the best westerns I've ever seen. Loved every minute.
(nl) wrote: Quite funny, certainly worth seeing.
(mx) wrote: Don't see what the big deal is? It's a reboot (Or reimagining) , you always expect the icon to be the complete same! It takes itself seriously, and honestly I enjoyed the story of this one. The characters did not do a bad job either! Gore was pretty cool as well!
(es) wrote: I can't believe I watched this whole thing on the space channel. The lesson here kids is don't do marijuana. How can you rollerblade in the dessert? It's all sand. That's the fundamental flaw in the ludicrous premise the movie never bothers to address.
(us) wrote: this is a classic example of the 70s cop movie, with all that can be expected (cop takes matters into own hands after murder of colleague), and some that might not be. d'antoni and scheider make for a tense and gritty thriller that comes full with a tire-burning car chase. the tension builds throughout the film and is satisfyingly released in the climactic final pursuit scene.