Realização:
Danny BoyleArgumento:
Simon BeaufoyCâmara:
Anthony Dod MantleMúsica:
A.R. RahmanElenco:
Dev Patel, Saurabh Shukla, Freida Pinto, Anil Kapoor, Rajendranath Zutshi, Irrfan Khan, Azharuddin Mohammed Ismail, Ayush Mahesh Khedekar (mais)Sinopses(1)
Jamal Malik (Dev Patel) is just one question away from winning a fortune on India's version of "Who Wants To Be A Millionaire?" But how has this uneducated young man from the slums succeeded in providing correct responses to questions that have stumped countless scholars before him? And will he ultimately win it all or lose everything, including his true love? (texto oficial do distribuidor)
(mais)Vídeos (2)
Críticas (15)
Quem Quer Ser Bilionário? é, em termos de significado, o novo O Tigre e o Dragão. Será igualmente determinante. É uma história de amor contada numa linguagem universal de um canto exótico do mundo, em que o espetador comum não consegue penetrar. E os índios argumentarão em vão (como os chineses fizeram numa altura) que lá fazem tais filmes há décadas. Não, não fazem. É alguém de fora que tem de vir entre eles e pôr a sua lente de Europa ocidental. Quem Quer Ser Bilionário? não é um filme de Bollywood, é uma celebração com fogos artificiais do Bollywood como uma cultura cinematográfica, mesmo com todo o seu romantismo. Numa bela história de amor, aproveita ao máximo tanto o glamour como a miséria do microcosmo índio, e dá-lhe um toque atraente para o público de uma forma imaginativa e fresca. É uma joia cinematográfica pequena e humilde que brilha mais do que todas as joalharias de Los Angeles, onde Benjamin Button vai às compras. É um filme que celebra a vida, a fé, o pensamento positivo; um filme que não foi feito para ser o filme premiado do ano. E é por isso que ele o merece. Nos dias de hoje, este filme é um pequeno milagre. E Danny Boyle é um menino Jesus. P.S. Jen Lopez ou Rosario Dawson têm as características de Freida Pinto, mas não têm os olhos dela. Nenhuma atriz de Hollywood tem os olhos de Freida Pinto.
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Danny Boyle got rid of Alex Garland and brought a cheap fairy tale to the West, exactly according to the Bollywood model. Its aesthetics of dirty slums and the search for happiness in it obviously earn touching moments with the audience, standing applause, and gilded statuettes. Unfortunately, to me, it smells of cheap calculation, which is only kept afloat by the fantastic passage with the little kids, which is funny and sad, and above all real, which cannot be said about the rest. It’s not that I don't appreciate the effort, but I yawned through the efforts of this hypocritical world - the visuals are like one of Tony Scott's Mexican trips and the good music (Boyle’s trademark) is nowhere to be found. I understand the general enthusiasm, I just don't share it.
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A naive, clichéd and predictable fairy tale about how a poor boy came to happiness. Boyle's film captivates with the sweeping realities of contemporary, overpopulated India, but otherwise has little else to offer. The childhood scenes are excellent, full of life and filmmaking passion, but the rest follows the same routine as many other films, without a hint of surprise, suspense or believable emotions. Bollywood came to Hollywood with a bang and everyone sat on their asses. Not me, though, sorry.
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A charming film with an amazing atmosphere that warms the heart and caresses the soul. I don’t think the comparisons with City of God are that appropriate, even though they are logical. Whereas City of God is a cold and cumbersome construct without personality, Slumdog Millionaire is a warm, viewer friendly and, above all, brisk fairytale that doesn’t have any big message, but it’s all the more honest because of that. Danny Boyle has proven many times that he’s a visual wizard, but now he delivers a perfect fusion of images and music. Basically, in every scene with an important song all I could do was watch the screen with admiration and amazement – so many ideas and tricks is not something you see every day. I don’t think it’s a worthy best film of the year, but the direction really does deserve an award.
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An exploitative film... a selectively filmed and sounded demonstration of colonial fantasy with added value in the form of purifying catharsis. Slumdog Millionaire doesn't say anything about India, it's just borrowing it as padding in sympathetic shrapnel aimed at Western audiences. The essence of contemporary ideological escapism, however riveting technically. I don't believe anything about that movie. Boyle's obsession with the invisible hand of fate is typical from this point of view - just garish colors on an empty concrete block of a "guaranteed hit".
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