The Red Violin

The Red Violin

Spans 300 years in the life of one famed musical instrument that winds up in present-day Montreal on the auction block. Crafted by the Italian master Bussotti (Cecchi) in 1681, the red violin derives its unusual color from the human blood mixed into the finish. With this legacy, the violin travels to Austria, England, China, and Canada, leaving both beauty and tragedy in its wake.

  • Rating:
    4.00 out of 5
  • Length:130 minutes
  • Release:1998
  • Language:French,English,Mandarin,Italian,German
  • Reference:Imdb
  • Keywords:snow,   boat,   fire,  

A music film tells about a perfect violin inspires passion, making its way through three centuries over several owners and countries, eventually ending up at an auction where it may find a new owner. . You can read more in Google, Youtube, Wiki

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The Red Violin torrent reviews

Sean I (gb) wrote: Funny as hell. This movie is a classic!

Anurag A (us) wrote: Ultimate masala-movie wid Rajini , n his mannerisms ,@ his best !!

Allie L (ca) wrote: This was kinda awkward.

Angela L (nl) wrote: this is a really good movie...i love jenny

Matthew C (br) wrote: Best B movie shoot em up ever!

Alex V (ag) wrote: John Travolta as a mobster loan shark trying to make it big as a movie producer in Hollywood. Everything's all so cool and slick here. In fact the movie gets so caught up in being cool and slick that it eventually forgets it needs to be going somewhere with this. But if it's wheel spinning, it's certainly diverting wheel spinning. --6.5/10--

Mil G (es) wrote: This sounds cool. I liked burst city(which isn't listed on this site) so I'll see this

Victoria S (de) wrote: A strange and moody dark romance, marred only by a weak ending.

Cameron J (nl) wrote: Oh, if you could listen to my brain right now, well, you would go insane long before you get to that point where music gets stuck, where you would hear this title being sung in the style of "Viva Las Vegas". Interesting how John Steinbeck was well-known for his harshly realistic literature, and with this film about the true story of Emiliano Zapata, he decides to make stuff up. You have to at least give him credit for realizing that this was always going to be kind of a bogus telling of the great Mexican Revolutionary, seeing as how they're getting Marlon Brando to play Mexican. Well, this film is black-and-white, so no one could see any brown on his skin, and with that meek, somewhat nasally little voice, I'm sure he could deliver on a reasonably convincing Mexican accent. They just wanted Brando in this lead role for the star power, but hey, Anthony Quinn really is Mexican and a big star, so they could have given him the role of Zapata. Well, it's not like he was given a thankless role in this film, because he did score Best Supporting Actor... for playing a Mexican, which isn't nearly as big of a stretch as Brando playing a Mexican. Oh, it's not like it matters, because Quinn and Brando are both good, as is the film, for all its flaws extending beyond the casting. At just under two hours, the film isn't very long to tackle rather grand subject matter, but it still finds time to drag its feet, that is, not through meandering, but through excessive, almost filler material which storytelling jars between, resulting in a somewhat incoherent focus. The film keeps on moving, often to a point, and often through fat around the edges, thus, this pseudo-epic is simultaneously short on a sense of urgency, and busy, rarely slowing down to draw upon real nuance. Each character is distinct and well-portrayed, but in terms of exposition, the supporting roles aren't given too much attention, and I would be fine with that if the lead Emiliano Zapata character wasn't himself a little undercooked, to the point of feeling like a type, with hardly any layers, and a sense of glorification, even though the true figure was a notoriously flawed and intriguing individual. No matter how much the film proves compelling in enough places to shine a light on the value of a story which is loosely interpreted here, there's a distinct lack of edge to this romantic take on Zapata and his worthy and, at times, questionable endeavors, and that makes some of the more romantic aspects feel a pinch histrionic and theatrical, and not necessarily in reflection of ambition. There are a few lazy touches in this film's storytelling and dated romanticism, and if nothing else draws your attention towards that, it's the fact that both and other aspects of this very 1950s Hollywood drama are hardly anything new, and riddled with a certain predictability. This is a bit of a typical '50s Hollywood bio-drama, and on that level, it does plenty of things well enough to compel just fine through and through, yet there is a shortage on coherency, nuance, urgency, edge and freshness that hasn't faired especially well against the test of time, and may turn more than a few people off. For me, however, while my attention was not firmly held, my investment never truly abated, for the film entertains and engrosses enough so to do some worthy justice to worthwhile subject matter. This film's loose depiction of peasant-turned-hero Emiliano Zapata's life during and role in the Mexican Revolution gets a little superficial and histrionic, while putting a lot of emphasis on chatter over action, and yet, this subject matter is consistently intriguing, whether it be focusing on the political and personal struggles of Zapata, or on the great consequences and scale of the Revolution he played an instrumental role in. There's plenty to immerse you into this story, and that includes Fuller Leland's and Lyle R. Wheeler's art direction, which recreated this drama's setting with distinction, not necessarily flare, which is all but compensated for by Elia Kazan's tasteful plays on Joseph MacDonald's spare cinematography through memorable visuals. Kazan has style on his side, but only when things to stylize come into play within this dialogue-driven, almost minimalist character drama, thus, Kazan most needs to deliver on thoughtfulness as a director, and he drops the ball in a number of places, but more often than not, when he isn't keeping up a tight pace, he's establishing a couple genuinely edgy scenes that really reflect what could have been, and mark heights in a consistent engagement value. Again, Kazan might not be able to resonate with many, but when he hits, he hits hard enough to cut through any potential natural shortcomings or superficialities, and compel pretty thoroughly, doing justice, not simply to strong subject matter, but to some strong scripting. Near-legendary realist novelist John Steinbeck takes a romantic approach to this film's script, undercooking and glorifying certain aspects, while getting to be disjointed with structure and focus, but his screenplay remains pretty respectable on the whole, with memorable dialogue and set pieces, and some depth for every superficiality, at the expense of glaring stereotypes that really thin down the roles. This cast's material is not so thin as to hold the performers' way, way back, and thus, what humanity there is in this drama goes truly defined by across-the-board strong performances, the strongest of which being courtesy of the darkly layered Anthony Quinn, and of the miscast, yet near-transformative Marlon Brando, who projects charisma which defines the respectability of Zapata, but also incorporates profound emotional layers and a vulnerability, both of which are laid on rather thin in the characterization. By bringing nuance to a somewhat thinly characterized lead, Brando technically carries this film, but he isn't the only rewarding attribute of this film, which may try the patience of many, and does feel underdone in a number of areas, but engrosses plenty as an intimate and intriguing drama. Overall, the film is a little bloated around the edges and unevenly focused, yet still too busy for you to salvage all that much nuance in characterization, through histrionics and conventions that further hold the final product back, but not by much, for through worthy subject matter, immersive art direction, engrossing direction, memorable scripting, and strong performances, - particularly by Anthony Quinn and Marlon Brando - Elia Kazan's "Viva Zapata!" manages to reward as a romantic account of the life and strives of an instrumental figure in the Mexican Revolution. 3/5 - Good

Martin T (ru) wrote: While there's nothing outstanding about this man-on-the-lam noir, it's a fine example of the genre. John Garfield (in his final performance) is terrific as the nervous, impulsive accidental cop killer, and Shelley Winters is amazing as always. Playing emotionally vulnerable characters seems to be her speciality, and she doesn't disappoint. There's a good amount of location work, which is always a plus, although most of it is in the front of the film. The rest of it is mostly confined to one set, and this turns out to be the one major drawback. Although the way that family issues play into the story is compelling, as a viewer I started to long for more forward notion. The movie really ought to be called He Hid All the Way because there's not a whole lot of running going on. However, it's a fine piece of work for noir fanatics, with some good photographic elements too.

Joe B (br) wrote: Let's have a running of 'Dear Black People" and see how that goes.

Kellan W (au) wrote: Decent film, but I feel that it suffers greatly from being "dumbed down" to appeal to wider audiences.

Jamie C (br) wrote: Good film it's like Expendables cute little brother, A great well told story, Nice action scenes and full of funny humour, Worth watching, But if its mindless action you want watch the Expendables.