Moonrise Kingdom. The kingdom of the moon

Moonrise Kingdom

The kingdom of the moon

Card

Movie: Moonrise kingdom.

Interpretation: Bruce Willis (captain Sharp), Edward Norton (chief of troop of the scouts), Bill Murray (Mr. Bishop), Tilda Swinton (social services), Jason Schwartzman (cousin Ben), Frances McDormand (Mrs. Bishop), Kara Hayward (Suzy), Jared Gilman (Sam).

Direction: Wes Anderson. Country: It uses.

Year: 2012. Duration: 95 min.

Genre: Dramatic comedy.

Script: Wes Anderson and Roman Coppola.

Production: Jeremy Dawson, Scott Rudin, Steven Rales y Wes Anderson.

Music: Alexander Desplat. It photographs: Robert Yeoman.

Production design: Adam Stockhausen. Wardrobe: Kasia Walicka Maimone.

Distributor: Alta Classics.

I release in USA: On May 25, 2012. I release in Spain: On June 15, 2012.

Qualification for ages: Not recommended for 7-year-old minors.

Synopsis

Moonrise Kingdom narrates the adventure of a boy and a girl who fall in love and escape to live through its adventure in an island of the coast of New England. The action passes in the summer 1965. When the authorities, alerted by the families of the boys, go out in its search, a violent thunderstorm forms on the coast and the community of the pacific coast will turn out to be shaken dramatically.

 

Comment

The tráilers praise that Moonrise Kigdom is a "rare" movie. Along this comment I am going to try to define what is strange, that it is the adjective that better defines this movie. I already know that rare he does not say anything, that is one of these words that employees to define, especially, a movie, turn out to be hollow. Pero Moonrise Kigdom is extraordinary, singular, slightly current or common or frequent, that it is the definition that the Dictionary of the Spanish Royal Academy gives to us for rare (if I keep on stretching more of the thread of the DRAE even the second one and the third meaning comes to me well: scarce in its class or species; of behavior and extravagant ideas).

Isla de New Penzance, 1965. Camp Ivanhoe of the khaki boys scouts. Sam (Jared Gilman) a young man scouts has run away. It has met young man Suzy (Kara Hayward). They are in love. They had coincided with a representation of school theater and there the bowshot arose. They have its books, correspond and do its plans to be together. They decide to do a secret agreement that will take them to the adventure. Suzy, also tackles the escape of house of its parents (misters Bishop – interpreted by Bill Murray and Frances McDormand-). Sam has all low apparent control to be able to spend the nights along with its dear one.

The chief of the troop of the scouts (Edward Norton) discovers in its routine morning inventory Sam's absence. They touch to rise and the young people scouts, denunciation before to the chief of the police of the island, captain Sharp (Bruce Willis), begin the search.

Sam lives with a reception family, while the Bishop constitute the typical American family through that they live, there same in the island, in one of these enormous houses that, in this case especially, seem to have been designed for the dolls. Both the parents and its three brothers prove to be worried by the Suzy disappearance.

While one proceeds to the search of the young people a tremendous thunderstorm threatens the whole island. A danger more that it watches the love of Sam and Suzy that scarcely count with twelve years of age.

So far there is nothing rare. The exposition is so old as the love. The history is full of examples led by young people who escape of house to live through its adventure while its families do not withstand it (one of the most famous couples there were Romeo and Julieta) and in this flight forward, in its way, they will have to avoid multitude of dangers to obtain its target.

The extraordinary of Moonrise Kingdom constitutes it the form in which the history is narrated. With a wonderful formal design very similar to an infantile story but on horseback between these books with desplegables of pasteboard that, on having pulled a tongue (this technical boasting has always turned out to be magic and surprising to me, certainly), goes out a castle or the dollhouse (sometimes it seems that we are before the familiar house as if of one of dolls it was talking each other). And especially based on a guessed right and magnificent photo for that he looks and promotes these colors pastries.

Moonrise Kingdom starts with a powerful scene where the sound-track turns into its protagonist. In a small portable record player the band Guide sounds for young people (1946) of Benjamín Britten. This work takes Changes as a subtitle and escapes on a topic of Henry Purcell. In her, the composer is going to create a series of changes for each of the sections of band (beginning for the wood, ropes, the metals and finally the percussion instruments). Then it takes the whole finished band to an escape, before recapturing the topic to conclude the work. And attention to the credit qualifications, because the director Wes Anderson, of the hand of Alexander Desplat (The speech of the king, The curious case of Benjamín Button) gives a return to the disc that we will surprise even more with its deconstruction exercise.

This small piece is the key of the whole movie. We hear an escape (like a musical construction, with a procedure of creation and structure very certain) and we are present at an escape as beginning adventure to the love. Everything in MK seems to have a double reading. On the one hand the point of view of the adolescents who live through the adventure, who live through the love, who leave aside its children's innocence and protecting itself in the group they are capable, as if there were a pack, of cornering, and trying to knock down its partner boy scout and friendly Sam (how many underlying violence there in these "innocent" words that one of the friends says: - we take weapon:). And on the other hand we have the adult point of view of the parents, of the police officer, of the chief scouts that wants to stop the love affair of the children when they, sometimes, many, they behave as such. But before the creatures they have to give the breast do and represent the adults' role although, finally, they want, between other things, to go out running of the hand of its adventure, of its love. And: who it prevents? The social convictions about which the children know nothing and quite they ignore in its innocent love declaration: I like you and if I to you also, we go away together to discover the world in the shape of remote beach where the moon shines.

Moonrise Kigdom reflects a dichotomy of the world. On the one hand the adolescent reflected in this island like synonymous of small paradise, sugerente, infantile, personified in two young lovers, where they will give themselves the first kiss, of this first love (ah, it spread for the melancholy) and will make us participants of an unconditional love full of tenderness. Curiously they are going to represent there the world of the adults (smoking in pip, it is its hearth, and where they will maintain its first discussion). And for other the adult world disappointed and painted the portrait with sarcasm, lacking in affection and slave of the routine, painted the portrait of magnificent and subtle form in the camp of the boys scouts (representation of the adult world to small scale, that is to say, infantile) where the game is very present: the children to be operated like the major and the biggest to be ordered (splendid the question that one of the children does to the chief of the regarding troop what its work is "really").

Rare (and therefore, extraordinary, singular and slightly current) is its director Anderson. It possesses a powerful imagination that is capable of filming across esthetics retro, between naif and surrealist, dazzling. On having come to the movies, it is necessary to leave at home any conventionality and to allow us to catch for its strange imaginary world and that the histories are arising on the screen and, like musical instruments, they shaping everything that they turn it into an extraordinary conductor. Under a certain hilarious and free humor it does not leave marionette with head. If we return on certain scenes and behaviors we will find this double meaning to which it was alluding earlier. It paints the portrait of a singular family of adoption that it pushes back and does not want to know anything about Sam opposite to a "traditional" family that is only an appearance (except for Suzy) and where the love some time ago that does not penetrate the door of the hearth (magnificent Mrs. Bishop with megaphone in hand to communicate with its family). The only thing that seems to join the couple its passion is for the legal profession. Without forgetting us of a representative of the Social services unscrupulous (Tilda Swinton) and a few chiefs of pathetic camps (and ridiculous with its shorts uniforms) that can play at being only major. The whole world, with personages who look for the happiness, the need for the family, the paternal affection and this force that provides the love capable of overcoming the most devastating of the thunderstorms.

As for the personages there is outstanding this singular, strange and eccentric man of red overcoat that acts as narrator. And, of course, to the chief of police officer (Bruve Willis) a solitary being lost in its melancholy, which leaves these habitual records to stand out, with its role, of the rest of actors. But over them I emphasize the natural and spontaneous work and with a big self-confidence of two children (Jared Gilman y Kara Hayward) who face from simulated form what perhaps has been its first love.

Finally, I would like reviewing the scene in which the young people dances its love with the song Him temps of l'amour interpreted by the sensual and wonderful voice of Françoise Hardy.

Finally, in this surprising baroque world of Wes Anderson, the extract takes root in the details. Grand work that was the manager of opening the past festival of Cannes. Moonrise Kingdom is a romantic, dyed fable of colors pastries, and that turn it into a beautiful, entertaining, original movie, with a particular sense of humor and …: rare!

I leave a tráiler to you

And a video of the song Him temps of l'amour of Françoise Hardy

 Square Luisjo

Magazine Atticus

 

Bookmark

Filed file: Movies

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Moonrise Kingdom. The kingdom of the moon | Magazine Atticus

Moonrise Kingdom. The kingdom of the moon

Moonrise Kingdom

The kingdom of the moon

Card

Movie: Moonrise kingdom.

Interpretation: Bruce Willis (captain Sharp), Edward Norton (chief of troop of the scouts), Bill Murray (Mr. Bishop), Tilda Swinton (social services), Jason Schwartzman (cousin Ben), Frances McDormand (Mrs. Bishop), Kara Hayward (Suzy), Jared Gilman (Sam).

Direction: Wes Anderson. Country: It uses.

Year: 2012. Duration: 95 min.

Genre: Dramatic comedy.

Script: Wes Anderson and Roman Coppola.

Production: Jeremy Dawson, Scott Rudin, Steven Rales y Wes Anderson.

Music: Alexander Desplat. It photographs: Robert Yeoman.

Production design: Adam Stockhausen. Wardrobe: Kasia Walicka Maimone.

Distributor: Alta Classics.

I release in USA: On May 25, 2012. I release in Spain: On June 15, 2012.

Qualification for ages: Not recommended for 7-year-old minors.

Synopsis

Moonrise Kingdom narrates the adventure of a boy and a girl who fall in love and escape to live through its adventure in an island of the coast of New England. The action passes in the summer 1965. When the authorities, alerted by the families of the boys, go out in its search, a violent thunderstorm forms on the coast and the community of the pacific coast will turn out to be shaken dramatically.

 

Comment

The tráilers praise that Moonrise Kigdom is a "rare" movie. Along this comment I am going to try to define what is strange, that it is the adjective that better defines this movie. I already know that rare he does not say anything, that is one of these words that employees to define, especially, a movie, turn out to be hollow. Pero Moonrise Kigdom is extraordinary, singular, slightly current or common or frequent, that it is the definition that the Dictionary of the Spanish Royal Academy gives to us for rare (if I keep on stretching more of the thread of the DRAE even the second one and the third meaning comes to me well: scarce in its class or species; of behavior and extravagant ideas).

Isla de New Penzance, 1965. Camp Ivanhoe of the khaki boys scouts. Sam (Jared Gilman) a young man scouts has run away. It has met young man Suzy (Kara Hayward). They are in love. They had coincided with a representation of school theater and there the bowshot arose. They have its books, correspond and do its plans to be together. They decide to do a secret agreement that will take them to the adventure. Suzy, also tackles the escape of house of its parents (misters Bishop – interpreted by Bill Murray and Frances McDormand-). Sam has all low apparent control to be able to spend the nights along with its dear one.

The chief of the troop of the scouts (Edward Norton) discovers in its routine morning inventory Sam's absence. They touch to rise and the young people scouts, denunciation before to the chief of the police of the island, captain Sharp (Bruce Willis), begin the search.

Sam lives with a reception family, while the Bishop constitute the typical American family through that they live, there same in the island, in one of these enormous houses that, in this case especially, seem to have been designed for the dolls. Both the parents and its three brothers prove to be worried by the Suzy disappearance.

While one proceeds to the search of the young people a tremendous thunderstorm threatens the whole island. A danger more that it watches the love of Sam and Suzy that scarcely count with twelve years of age.

So far there is nothing rare. The exposition is so old as the love. The history is full of examples led by young people who escape of house to live through its adventure while its families do not withstand it (one of the most famous couples there were Romeo and Julieta) and in this flight forward, in its way, they will have to avoid multitude of dangers to obtain its target.

The extraordinary of Moonrise Kingdom constitutes it the form in which the history is narrated. With a wonderful formal design very similar to an infantile story but on horseback between these books with desplegables of pasteboard that, on having pulled a tongue (this technical boasting has always turned out to be magic and surprising to me, certainly), goes out a castle or the dollhouse (sometimes it seems that we are before the familiar house as if of one of dolls it was talking each other). And especially based on a guessed right and magnificent photo for that he looks and promotes these colors pastries.

Moonrise Kingdom starts with a powerful scene where the sound-track turns into its protagonist. In a small portable record player the band Guide sounds for young people (1946) of Benjamín Britten. This work takes Changes as a subtitle and escapes on a topic of Henry Purcell. In her, the composer is going to create a series of changes for each of the sections of band (beginning for the wood, ropes, the metals and finally the percussion instruments). Then it takes the whole finished band to an escape, before recapturing the topic to conclude the work. And attention to the credit qualifications, because the director Wes Anderson, of the hand of Alexander Desplat (The speech of the king, The curious case of Benjamín Button) gives a return to the disc that we will surprise even more with its deconstruction exercise.

This small piece is the key of the whole movie. We hear an escape (like a musical construction, with a procedure of creation and structure very certain) and we are present at an escape as beginning adventure to the love. Everything in MK seems to have a double reading. On the one hand the point of view of the adolescents who live through the adventure, who live through the love, who leave aside its children's innocence and protecting itself in the group they are capable, as if there were a pack, of cornering, and trying to knock down its partner boy scout and friendly Sam (how many underlying violence there in these "innocent" words that one of the friends says: - we take weapon:). And on the other hand we have the adult point of view of the parents, of the police officer, of the chief scouts that wants to stop the love affair of the children when they, sometimes, many, they behave as such. But before the creatures they have to give the breast do and represent the adults' role although, finally, they want, between other things, to go out running of the hand of its adventure, of its love. And: who it prevents? The social convictions about which the children know nothing and quite they ignore in its innocent love declaration: I like you and if I to you also, we go away together to discover the world in the shape of remote beach where the moon shines.

Moonrise Kigdom reflects a dichotomy of the world. On the one hand the adolescent reflected in this island like synonymous of small paradise, sugerente, infantile, personified in two young lovers, where they will give themselves the first kiss, of this first love (ah, it spread for the melancholy) and will make us participants of an unconditional love full of tenderness. Curiously they are going to represent there the world of the adults (smoking in pip, it is its hearth, and where they will maintain its first discussion). And for other the adult world disappointed and painted the portrait with sarcasm, lacking in affection and slave of the routine, painted the portrait of magnificent and subtle form in the camp of the boys scouts (representation of the adult world to small scale, that is to say, infantile) where the game is very present: the children to be operated like the major and the biggest to be ordered (splendid the question that one of the children does to the chief of the regarding troop what its work is "really").

Rare (and therefore, extraordinary, singular and slightly current) is its director Anderson. It possesses a powerful imagination that is capable of filming across esthetics retro, between naif and surrealist, dazzling. On having come to the movies, it is necessary to leave at home any conventionality and to allow us to catch for its strange imaginary world and that the histories are arising on the screen and, like musical instruments, they shaping everything that they turn it into an extraordinary conductor. Under a certain hilarious and free humor it does not leave marionette with head. If we return on certain scenes and behaviors we will find this double meaning to which it was alluding earlier. It paints the portrait of a singular family of adoption that it pushes back and does not want to know anything about Sam opposite to a "traditional" family that is only an appearance (except for Suzy) and where the love some time ago that does not penetrate the door of the hearth (magnificent Mrs. Bishop with megaphone in hand to communicate with its family). The only thing that seems to join the couple its passion is for the legal profession. Without forgetting us of a representative of the Social services unscrupulous (Tilda Swinton) and a few chiefs of pathetic camps (and ridiculous with its shorts uniforms) that can play at being only major. The whole world, with personages who look for the happiness, the need for the family, the paternal affection and this force that provides the love capable of overcoming the most devastating of the thunderstorms.

As for the personages there is outstanding this singular, strange and eccentric man of red overcoat that acts as narrator. And, of course, to the chief of police officer (Bruve Willis) a solitary being lost in its melancholy, which leaves these habitual records to stand out, with its role, of the rest of actors. But over them I emphasize the natural and spontaneous work and with a big self-confidence of two children (Jared Gilman y Kara Hayward) who face from simulated form what perhaps has been its first love.

Finally, I would like reviewing the scene in which the young people dances its love with the song Him temps of l'amour interpreted by the sensual and wonderful voice of Françoise Hardy.

Finally, in this surprising baroque world of Wes Anderson, the extract takes root in the details. Grand work that was the manager of opening the past festival of Cannes. Moonrise Kingdom is a romantic, dyed fable of colors pastries, and that turn it into a beautiful, entertaining, original movie, with a particular sense of humor and …: rare!

I leave a tráiler to you

And a video of the song Him temps of l'amour of Françoise Hardy

 Square Luisjo

Magazine Atticus

 

Bookmark

Filed file: Movies

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