Little Odessa
(Cuestión de sangre)
(USA, 1994) [Color, 98 m.].
Género: Thriiler, Drama criminal, Drama urbano, Drama familiar / Mafia.
IMDb
Ficha técnica.
Dirección: James Gray.
Guión: James Gray.
Fotografía: Tom Richmond (Technicolor).
Música: Dana Sano.
Producción: Paul Webster, Kerry Orent, Claudia Lewis, Rolf Mittweg, Nick Wechsler.
Productora: Fine Line Features / New Line Cinema / Live Entertainment.
Premios:
- 1994: Festival de Venecia: Mejor director.
: Tim Roth (Joshua Shapira), Edward Furlong (Reuben Shapira), Moira Kelly (Alla Shustervich), Vanessa Redgrave (Irina Shapira), Maximilian Schell (Arkady Shapira), Paul Guilfoyle (Boris Volkoff), Natalya Andreichenko (Natasha), David Vadim (Sasha), Ron Brice (Man with one leg), Mina Bern (Grandma Tsilya), David Ross (Anatoly).
Sinopsis: Joshua Shapira regresa a su ciudad natal después de varios años. Los de su sangre le rechazan y Joshua se enfrenta a una existencia solitaria, dada su peculiar profesión; él es uno de los más cotizados asesinos a sueldo del país. La mafia le encarga un nuevo trabajo: liquidar a un joyero iraní. El ?encargo? no va a ser tan fácil como esperaba. El retorno a la comunidad de inmigrantes rusos donde pasó su juventud, le provocan dolor y confusión ya que le recuerda el abandono que sufrió. (Alpacine)
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"Con 24 años -el dato deslumbra- Gray firma una dirección brillante y ágil. Enérgica, desinhibida, brutal. Sin duda un film diferente" (Luis Martínez: Diario El País)
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"Duro, intenso, original y nada ortodoxo thriller que pasó desapercibida. Roth borda su papel" (Antonio Albert: Cinemanía)
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"Una pequeña gema." (Antonio Weinrichter: Diario ABC)
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"Fascinante y duro drama familiar con unos actores medidos y un trasfondo social novedoso. Muy interesante" (Gregorio Belinchón: Diario El País)
Joshua, un asesino a sueldo de la mafia rusa, regresa tras muchos años de ausencia a Little Odessa, el barrio neoyorkino donde nació, para perpetrar un crimen. Es la oportunidad para volver a ver a los suyos... y para poner su vida en peligro.
James Gray filmó con 25 años con su primer largometraje, y sorprende la densidad dramática, dura y violenta, con que dibuja la esquizofrenia de un asesino que trata de compatibilizar su 'trabajo' con la vida familiar. Un tema tradicional en los filmes de gangsters, que ha dado títulos espléndidos como la trilogía de
El padrino de Francis Ford Coppola, o
Calle sin salida de William Wyler. Con este último, comparte la película de Gray el deseo del protagonista de ver a su anciana madre (
DeCine21).
- J.D. Cáceres & A. Díaz Castaño: "James Gray", Miradas de Cine, nº 72 (2008).
AMG SYNOPSIS: A somber portrait of organized crime and family trauma, Little Odessa centers on the trouble caused when hit man Joshua Shapira (Tim Roth) returns to his old neighborhood of Brighton Beach, Brooklyn. A hired killer for the Russian Mafia, Joshua is given an assignment in his hometown, where he renews contact with his younger brother Reuben (Edward Furlong) and an old flame (Moira Kelly). But others do not welcome Joshua's return, particularly his harsh, estranged father (Maximillian Schell), who had disowned Joshua years before and currently attempts to keep him from visiting his seriously ill mother (Vanessa Redgrave). The pressure of these family crises combine with Joshua's deepening involvement in the local crime scene, ultimately triggering a bloody confrontation. First-time director James Gray creates a solemn, oppressive atmosphere that emphasizes the already grim nature of his story. The slow pace and familiar crime narrative were attacked by many viewers, contributing to a mixed critical reaction, but Little Odessa nevertheless won admiration for GRAY's visual sense and the skilled performance by ROTH in the unsympathetic lead role. -- Judd Blaise
AMG REVIEW: Given its star, aesthetics, and date of release, it may come as no surprise that Little Odessa was nearly relegated to obscurity shortly after its original theatrical run in mid-1994. Those expecting an energetic, Tarantino-style crime film may have recoiled at this broodingly bleak, somber tale of an unfeeling professional killer who returns to his childhood neighborhood in Brighton Beach to perform a job, though those with the patience to give this quietly desperate, introspective gem a chance will find a somber but rewarding tale of moral decay and its repercussions on loved ones. As the killer in question, Tim Roth provides a quiet and expressive low-key performance which richly visualizes his struggle to connect with his family and old flame. His desperation to be understood is off-balanced by an emotional wall of ice he has created in order to effectively carry out his work; Roth's quiet desperation resulting from his inability to communicate with those closest to him provides viewers with a chilly sense of impending doom. As he interacts with his admiring younger brother (an effective performance by the sometimes shrill Edward Furlong) and his hardened love interest, Roth's expressive manner quietly conveys everything that his character can't verbalize. Cinematographer Tom Richmond's muted color scheme externalizes the dank emptiness of his subjects' souls, effectively projecting their despair onto the surroundings they inhabit, and rendering the scenes with Roth's dying mother and conflicted father heart-wrenchingly real. This case should also be made for the punctuated and decidedly non-glamorous violence in the film. A thankful contrast to the flood of stylishly violent crime films that came in the wake of Tarantino's films, Little Odessa's violence is present to serve a purpose, making it all the more effective and horrifying when characters do ultimately succumb to its deceptively seductive and ultimately soul-shredding allure. -- Jason Buchanan
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Enlaces relacionados:
We Own the Night (James Gray, 2007) BRRip VOSE
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