Año: 1999
Pais: Estados Unidos
Director: Tom Gilroy
Productor: Michael Stipe; Mike Morley
Reparto: Ned Beatty; Lev Schreiber; Campbell Scott; Ian hart
Guion: Tom Gilroy
Musica: Hahn Rowe
Fotografia: Terry Stacey
Duracion: 110 min.
Sinopsis:
As the seasons change in a Connecticut town, two men of different age and backgrounds who work together outdoors for the local park system, share thoughts and feelings that gradually deepen into a relationship approaching father and son. Paul is just out of prison for armed robbery, assigned to work with Murph, a middle-aged vet whose grown son Bobby is dying. Paul is trying to control his temper and build a spiritual side based on reading. Murph is a down-to-earth Sancho Panza to Paul's more ethereal ideas. And Murphy seems to need forgiveness for mistakes as a dad. As Murphy's retirement approaches and winter sets in, the men talk and love blossoms. (http://www.imdb.com)
Paul acaba de salir de la cárcel, donde ha estado recluido por un asalto a mano armada. Le asignan un trabajo en el parque local junto a Murph, un hombre que acaba de perder a su hijo y que intenta controlar su carácter refugiándose en la lectura. Ambos son muy distintos pero entre ellos nacerá una amistad que se hará cada vez más profunda, llegando a una relación de padre e hijo. (FILMAFFINITY)
Datos Tecnicos:
AVI File Details
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Pelicula:
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Subtitulos:
Spring forward.ssa Capturas:
Movie Review
Spring Forward (2000)
FILM REVIEW; Buddies Who Share Second Chances
By A. O. SCOTT
Published: December 8, 2000
''Spring Forward'' presents an unusual and welcome spectacle: two very fine actors, Ned Beatty and Liev Schreiber, engaged in an intense contest to see who can give the more understated performance. This may sound less than thrilling -- and it's true that the movie's slow, easy hush sometimes tends toward somnolence -- but there is real satisfaction in watching such exact and unpretentious applications of craft.
Tom Gilroy, a playwright directing his first film, wisely gives Mr. Schreiber and Mr. Beatty the time and space they need to explore the almost imperceptible nuances of friendship between ordinary, troubled and decent men of a kind whose lives too rarely make it to the screen.
The film's story, which involves nothing more or less than the development of that friendship, is told through a series of long, talky scenes that take place at intervals over a year. The setting is a small city in Connecticut, and the men, Paul (Mr. Schreiber) and Murph (Mr. Beatty), work for the parks department. The changing colors and contours of the outdoor spaces where they work -- only one relatively brief scene is indoors -- give the film sufficient visual beauty and variety to prevent it from becoming too stagey.
But what is most beautiful is the dynamic between Paul, an ex-convict desperate to put his life back together, and Murph, who is engaged in a quieter struggle to maintain his stoical good cheer in the face of family tragedy and encroaching old age.
The scenes between these men, whose work duties don't seem terribly strenuous, have a loose, discursive rhythm that may at first frustrate audiences conditioned to expect succinct exposition and obvious emotional payoffs. Paul's attempt to make sense of his life, and to take control of it, has led him to dabble in half-baked, but not entirely unpersuasive, New Age spirituality.
Murph, reluctantly assuming the role of mentor, is at first glance a little obtuse and more than a little square; he is offended by Paul's frequent use of obscenity. But Murph's guardedness conceals a quick wit and an easygoing tolerance, which is just what Paul needs. Murph quickly recognizes that the younger man's tendency to be hard on himself is really a form of self-pity.
Their encounters occasionally include other people, notably an arrogant rich kid played by Campbell Scott and a lonely, dog-loving schoolteacher (Peri Gilpin, who plays Frasier Crane's long-suffering producer on the popular NBC sitcom) to whom Paul is attracted.
While these characters help vary the rhythm of a picture that might otherwise be ''My Long Lunch Break With Andre,'' they also expose its major flaw, which is not slowness so much as thinness. Paul and Murph are given full human dimension, thanks to Mr. Gilroy's rich script and the actors' deep commitment to it, but the world they inhabit feels underimagined, bereft of the stickiness and density that successful realism requires.
However sparse their context, the voices and faces of the two men nonetheless linger in the mind long after the movie is over. Mr. Schreiber gets the idioms and inflections of southern New England working-class speech exactly right, without showing off about it. And Mr. Beatty gives one of his best performances since his portrayal of Detective Bolander in the television show ''Homicide.''
''Spring Forward'' was made with the modesty and care that should be the hallmarks of American independent cinema, in place of the careerist bravura that too often appropriates that designation. That the Independent Film Channel has given the movie a theatrical release is an encouraging sign that work of this kind can find the support and attention it deserves.
''Spring Forward'' is rated R (under 17 requires accompanying parent or adult guardian). Murph's attempt to curb Paul's tongue proves fruitless.
