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Hope's revenge on his character doesn't feel grounded other than the fact he said a few words to ignite those flames of passion to give us an angry man before and after Rachel McAdam's character's death. I don't think I've ever seen someone act like such a smart guy one minute and completely flip to idiocy the next. I was really at a loss with the 'villain' of the film played by Victor Ortiz. While Jake Gyllenhaal commands the screen as Billy Hope's "came up through the system" champion with a committed performance both in physicality and emotion, most of the time, 'Southpaw' beats you so far into the mat with misery it's tough to enjoy. The tale of redemption is one as old as time when it comes to seeing someone get beat down and get back up only to find the success they lost found once again. This film has no rating.Boxing movies can be tough to bring out on the screen from the paper they are written on. At the 57th Street Playhouse, between Avenue of the Americas and Seventh Avenue.
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TIME FOR REVENGE, directed and written by Adolfo Aristarain Spanish with English subtitles cinematographer, Horacio Maira edited by Eduardo Lopez music by Emilio Kauderer produced by Aires Cinematografica Argentina an Aries Films -ICH Presentation released through Televicine International.
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Luppi, who has some of the quality of Jean Rochefort Julio de Grazia, as the lawyer who is not so slimy after all, and Haydee Padilla, as Pedro's frequently ill-used wife.Īrgentine political alliances shift so frequently and so subtlely that the full meaning of a topical film like this may be available only to the student. It moves surely and swiftly with scarcely a superfluous shot or sound effect. Even when ''Time for Revenge'' is irrational, it's extremely cinematic.
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Aristarain looks to be a natural-born film maker. Having said all this, I should add that Mr. The film's final gesture is brutally dramatic but unsupported by anything that has gone before. He may not really be mute but he does seem incredibly short-sighted. Plausibility is also strained when Pedro, with a fortune in his briefcase, persists in walking around some of Buenos Aires's loneliest streets. Toward the end, he is so chilly and self-centered that he is seems untouched by the death of Bruno and by the murder of another friend, who had testified on his behalf at the trial. Is he a Communist, a Socialist, a Peronist? I don't know. His past is so mysterious that it carries no emotional weight into the melodrama we witness. From what we see of him, he looks to be more of an opportunist, though initially a reluctant one. The fundamental problem with all this is that we have to take Pedro's idealism on faith.
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As the trial goes on, and as the psychological pressures on him build, Pedro becomes increasingly obsessed with winning, not only to expose the company's corrupt practices but also to get the money to flee the country for a life of ease. The company, Bruno assures Pedro, will do anything to avoid public scrutiny and, prodded by Bruno's slick lawyer, will settle the case out of court for a sum to be divided with Pedro.Īware that his room may be bugged, he communicates with his wife with a pad and pencil. The idea is to stage a dynamite accident that will, apparently, cause Bruno such emotional shock that he becomes mute. Little by little, he persuades Pedro to join him in a scheme to defraud Tulsaco out of several hundred thousand dollars. Bruno is bitter about his life, his wife's death and the terrible working conditions at the mine. When he reports for work at the mine, Pedro is astonished to find Bruno (Ulises Dumont), an old political ally, also working under an assumed name.
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Now in middle age, he wants simply to make some money for his family and to leave activism to others. It turns out that Pedro, who once was a political radical of some sort, obtains the Tulsaco job with forged identity papers. Because it's also the kind of film that is impossible to discuss without going into its plot in detail, bear with me.Īt the beginning of the film, Pedro Bengoa (Federico Luppi), a demolitions expert, is in Buenos Aires applying for a job with a large multinational corporation called Tulsaco, the operator of a copper mine in southern Argentina. ADOLFO Aristarain's ''Time for Revenge,'' which opens today at the 57th Street Playhouse, is a contemporary Argentine political melodrama that is so reticent about its politics that the meaning of its melodrama is ultimately sabotaged.