Realização:
Baltasar KormákurCâmara:
Salvatore TotinoMúsica:
Dario MarianelliElenco:
Jason Clarke, Jake Gyllenhaal, Josh Brolin, John Hawkes, Sam Worthington, Robin Wright, Michael Kelly, Keira Knightley, Emily Watson, Thomas M. Wright (mais)Streaming (3)
Sinopses(1)
Expert mountaineers Rob Hall (Jason Clarke) and Scott Fischer (Jake Gyllenhaal) lead rival expeditions to scale the highest peak on Earth, Mount Everest. Their quest becomes dangerous when the fearless climbers collide head-on with one of the fercest blizzards in the mountain’s history. Faced against impossible conditions, the limits of human spirit and physical endurance are put to the ultimate test in an epic struggle for survival in this chilling, edge-of-your-seat thriller based on actual events. (Universal Pictures UK)
(mais)Vídeos (25)
Críticas (19)
Qualquer pessoa por quem se desenvolva simpatia vai entrar num grande problema. Essa é a única ambição dramatúrgica de Everest. Um produto de marketing IMAX que, com o seu formato grande-angular, utiliza apenas metade dum ecrã IMAX. Um argumento completamente medíocre sem um único diálogo, momento ou personagem memorável. O excelente elenco internacional não tem praticamente nada para atuar, e a personagem de Gyllenhaal, a que mais ansiávamos, recebe 3x mais tempo de ecrã do que no trailer. Os visuais são agradáveis, o cenário de Everest é autêntico. Espetaculares fotografias aéreas da travessia exposta abaixo do degrau de Hillary. A principal arma do filme é a intensidade do vendaval, que num cinema bem sonoro o fará fincar-se no seu lugar (Dolby Atmos positive). O filme louvavelmente não distorce a realidade, não faz paródia e não se deita fora pela sua própria estupidez (Limite Vertical). Mas tudo isto é também o orgulho de North Face, que não cheira duma comissão de estúdio mal-feita e, em vez disso, descreve com entusiasmo narrativo e interesse pelas personagens a subida ao Eiger suíço, historicamente mais significativa, e mais dramática no enredo (sendo um nível de montanhismo completamente diferente em termos de dificuldade do que o «andar» ao Everest).
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Kormákur decidiu fazer o seu filme mais ambicioso e o mais realista possível, sem os tradicionais adornos de Hollywood e situações dramáticas induzidas artificialmente, fazendo de Everest uma reconstrução quase documental dos acontecimentos reais nos quais se inspirou. Mas sofre de demasiados caracteres - pelo menos duas dúzias a caminho até ao cume, com muitos mais à espera em baixo ou em casa. Há tantos que um grande número deles só aparece marginalmente no filme e não tem espaço suficiente para formar qualquer ligação emocional com eles, o que é uma vergonha, dado o elenco de estrelas. É filmado bem artesanalmente, mas sem invenções e ideias. Como uma declaração fatídica sobre a superação de si próprio, o poder do espírito humano e o facto de a natureza ter sempre a última palavra a dizer no final, Everest funciona. De resto, porém, é um filme sem risco para o público, no qual uma tentativa simpática de credibilidade e realismo são compensados pela falta de dramatismo e excesso de personagens.
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The filmmakers’ indecisiveness about which of the roughly six more significant characters would be the main protagonist probably stems in part from the fact that they relied on the memories of all of the survivors and their loved ones in an attempt at a comprehensive view of the tragedy instead of relying on a single source (Krakauer’s book, which had already been made into the television movie Into Thin Air: Death on Everest, would have served the purpose). No time or space remains for the more thorough development of the characters, who comprise merely a few types; usually the more interesting they are, the more charismatic the actor playing them (the cocky Texan, the easy-going American mountain guide, the responsible New Zealand mountain guide, the humble mailman who wants to fulfil his dream, the loving and caring women). Despite the faint outlining of the characters, the first hour of the film is important, as that is when, in addition to the dangers that await them, we are presented with the relationships between the characters and their ambitions and motivations. We thus better remember their names and later, despite the layer of frozen snow and the dark glasses on their faces, we can recognise who is shouting at whom. At the same time, the fatal decisions that some of the characters make (the bond between Rob and Doug) are more understandable and we are also better able to find our bearings in the individual sections of the journey to the summit, which are presented to us in advance. Whereas the formula of a disaster film is fulfilled by spreading attention among multiple characters, the disaster itself does not serve as punishment for the sins committed by the immoral characters. Atypically, perhaps out of respect for the victims, this is a drama about a group of good people who try to help other good people (The Martian will probably offer a similar story soon). There is no enemy to be defeated, nor is there a character who is supposed to see the light and undergo a transformation based on experience (if he had been a bit more inattentive toward his wife, Beck could have fulfilled this pattern of development). The will to survive is crucial. There is something similarly and likably old-world about the idea of “we have to help each other” as there is about the strictly linear narrative with no flashbacks and with a single (inappropriate) dream sequence. All of the information conveyed, which seems needless on the surface, is put to good use by Kormákur in the film’s second, extremely intense half with astonishing momentum (literally in places) and only a few sentimental moments (though the narrative is structured around them – see the storyline with the unborn child – so they are not superfluous). It serves no purpose to confront the protagonists with the question that will probably occur to every viewer who is not a mountain climber – why do they do it? After all, the rules of the game are not set by people in the second half, but by nature. In the spirit of the cinema of attractions (not intellectual), the aim is to provide an immediate visceral experience. In hindsight, I realise that’s not much. Immediately after the screening (IMAX 3D), however, with the subsiding feeling that I had just descended from the summit of the world’s tallest mountain, I found that I could not have wanted anything more. 75%
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A precise survival drama with a fantastic cast that in some cases is too good given the few lines they have. The experiential capacity of the film is substantial. In some scenes it manages to grip and amaze, not only through the mountain setting, but also with the convincingly performed suffering of the leading characters. Things get unfortunately a little chaotic after some time with them covered in jackets and hoods and with the snow falling, they all look very similar and there were moments that I wasn’t really sure who was who. But overall, a recommending thumbs up.
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After a second screening (and having learned about the making of this film), I'm pretty clear: the production values of Kormákur’s film are breathtaking. Whether it's the visuals, the actual locations where it was filmed, the plethora of great special effects that are naturally incorporated into the picture so that you don't even recognize them, and behind all of that there is a subtle tribute to the guys for whom mountains are everything. We can make a comparison here with, for example, the rather dumb Vertical Limit, where the mountains are just a vehicle for stupid stunts that are a laughing stock for real climbers. Everest, in contrast, has a real believable dimension and yet it is deep and human. The fact that you may think mountaineers are weirdos with obsessive compulsive behavior who gamble with their lives is actually pretty irrelevant, petty, and just your problem. Everest can proudly stand alongside some famous French mountaineering-themed films, which are pretty good on their own, and it’s certainly the best mountaineering film Hollywood has ever produced.
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