Stephen Spielberg is always a new edition of a much better war movie

When it comes to cinema in Hollywood, Stephen Spielberg’s contract was in the 1980s. It was almost everywhere, as he presented the nominations of successful crowds in a critical and commercial manner who also achieved the Oscars’ nominations (Raiders of the Lost Ark “,” Et The Oute-RESTRIAL “), where they produce other box office strikes such as” Poltergeist “, and the founding of Amblin Entertainment, a production company (company production (It was named after a short Spielberg movieThose who came out of the big money makers such as “Gremlins” and “Back to the Future”. However, despite all his influence and undoubted technical talent, there are still regular accusations of emotion. I tend to agree in some cases. I have always preferred the most separate feeling of surprise in the “third type meetings” from the tear upload of “et;” And, while The direction of Spielberg was good enough to throw the “purple color” the best gesture image At the Academy Awards, I think it was his treatment of source materials that prevented her from winning. Emotion Steve also hit again at the end of the decade with “always”, a new edition of the drunkard for a much better war film.

Classic Victor Fleming update in 1943, “A man named Joe” to a modern environment, “always” Richard Drivus in the role of House Sandic, a firefighting pilot, and his habit of riding his luck causes his girlfriend’s attention to the attention of his girlfriend Dorinda (Holly Hunter) and Best Pal (John Godman). Their worst concerns come because a house perishing into a forest fire after he saved the life of Al, but this is not an end to a house. In the afterlife, Hab (Audrey Hepburn will meet in its last role), a guide to a spirit that brings him back as an angel guardian to the pilot of trainees Ted Baker (Brad Johnson). A lot of panic, TED begins to fall into Dorinda, but he must set his feelings aside when Ted is called on a deadly rescue mission.

It should always be “” a certain winner. This happened because Spielberg and Drifus’s mutual love for a “man called Joe”, where the husband put forward the idea of ​​reshaping him during the shooting of “jaws”. The film has a lot even after that, including a reformer crew (regardless of the gentle love competitor to Johnson) and Spielberg are confidently dealing with large pieces. Although he is still making money at the box office, the film was ultimately Modelin in his favor and is generally considered one of the worst pictures of Spielberg. Let’s take a closer look at the original movie and wherever everything is “always”.

Spencer Trissy plays the role of “a man called Joe” in the role of House Sandj, an American bulletin stationed in Britain during World War II who cannot resist the desire to risk his life to perform the dangerous heroism and constantly landing in hot water with his leader, “nails” as James Gleson. But everything is sweet when he is on the floor because he returns to his colleague pilot Dorinda Dorson (Irene Don) and can always rely on his sincere friend Al -Yaki (Ward Bond). After Nails PETE is punished by sending it and AL to Scotland in Recony, Dorinda has a bad feeling and gives it a warning: returning to the safety of the United States and training new pilots, or will occupy a new post in Australia instead. Love wins and reluctantly agrees before walking on a final mission to intercept the German aircraft carrier. However, during the operation, his “cage” was damaged by an enemy’s fighter, forcing a house to obtain his crew to safety before he was inevitable to bomb the ship.

Waking up in the afterlife, a house is received by his old deceased friend Dick Romney (Barry Nelson). Under his directives, General (Lionel Barrymore) sends him to Earth to look at the shoulder of the inexperienced pilots to work abroad. Beit Ho Ted Randal (Van Johnson), a wealthy young man with a tendency to chat lines. TED is shipped to New Guinea, and tries to try his little routine on Dorinda, who is now concentrated on the island with Al and Nails. They fall in love and suggest Ted, which prompted a house to take revenge by encouraging Ted to fly recklessly to hope that he will be seized with nails. Nails have other ideas, and to choose Ted for a very dangerous task to destroy Japanese ammunition.

Four years after his dual delivery “Gone with the Wind” and “The Wizard of Oz”, “A man named Joe” is another classic from director Victor Fleming. The excellent actors team benefits from the Dalton Trumbo scenario, which provides an equal and inspiring banter. Although some contemporary critics have found that it is important when people die in the fighting, the film now stands beside the “issue of life and death” of Powell and Persepper as a supernatural love story of nature in wartime celebrating the vitality of life in the time of global conflict.

A year before “a man named Joe” in New York, Rick Blin (Humphrey Bogart) was standing on a foggy amphitheater asking Elsa Lund (Ingrid Bergman) To reach a plane with her husband from the resistance leader, abandon the opportunity for happiness for the greatest good in fighting against the third Reich. There is a similar scene in the firstborn of the last Victor Fleming movie when the Heavenly House officer gave him an inspiring speech, and he asks him to set aside his personal feelings to Dorta and help the people who left behind winning the war.

Like “Casablanca”, “A man named JOE” sets an impressive note of advertising. After the United States entered World War II, people all over the country waving goodbye to their loved ones, and they did not know whether they had seen them alive again. Films like this, which led to a deep note with their romantic lines, confirmed that the self -sacrifice was decisive if the allies were defeating the axis forces. As with a “man named Joe”, like “a man named Joe”, this feeling of uncertainty and deaths are suspended on the entire movie. We focus on three people and a hill of beans, but this gives you the greatest feeling that these personal stories are played throughout the war theater, with the possibility of death away.

This is where it is “always”. By updating the story and removing the context of the war, Stephen Spielberg and screenwriter Jerry Bilson are guilty of risk reduction. Certainly, there is still a life suspended in balance, but the drama feels more important without the background of the global conflict. All urgency is lost, and the film is finally drifted while Spielberg surrenders to his worst emotional inclinations. You can not really blame the craft or actors, because it is a beautiful beautiful film and the actors are all in turn, even if Richard Drivus and Huli Hunter are lacking in the chemistry of the barbed spiral ball in Spencer Tris and Irene Dan originally. Ultimately, he always takes a classic “loved” and makes it more beautiful and luxurious, but it ends in a way that feels much less than the total number of its parts.