SYNOPSICS
Tetro (2009) is a English,Spanish,French movie. Francis Ford Coppola has directed this movie. Vincent Gallo,Alden Ehrenreich,Maribel Verdú,Silvia Pérez are the starring of this movie. It was released in 2009. Tetro (2009) is considered one of the best Drama movie in India and around the world.
The week of his 18th birthday, Bennie, who's a waiter on a cruise ship, has a layover in Buenos Aires. He seeks out his older brother, Tetro, whom he hasn't seen in years. Tetro, who lives with Miranda, is a burned-out case; he's hot and cold toward his brother, introducing him as a "friend," refusing to talk about their family, telling Bennie not to tell Miranda who their father is. Thoughts of their father cast a shadow over both brothers. Who is he, and what past has Tetro left behind? Bennie finds pages of Tetro's unfinished novel, and he pushes both to know his own history and to become a part of his brother's life again. What can come of Bennie's pushing?
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![Tetro Rouge - Official Trailer [HD]](http://i4.ytimg.com/vi/AD9Ci0LUyh4/mqdefault.jpg "Tetro Rouge - Official Trailer [HD]")
Tetro (2009) Reviews
The Re-Awakening Of The Giant
Enthralling, captivating. Buenos Aires, maybe? Black and White scope mostly, the limpid soul and devastating smile of Alden Ehrenreich. Coppola enjoys his freedom and so do we. At the base of it all, a juicy melodrama but the master flies over it with a tireless, youthful zest. Vincent Gallo seem a bit of an odd choice to play the title role and in fact I just found out that Matt Dillon was supposed to have played it. It certainly would have added up the romanticism and the sensuality that runs through it but, never mind. Alden Ehrenreich as Bennie is, quite simply, fantastic. Maribel Verdu another stand out as Tetro's loving if long suffering companion. Karl Maria Brandauer is horribly perfect, a character that emanates the kind of debauchery fame and rotten ego can provide. "There is room for just one genius in this family" I saw the film last night and it hasn't left me for a moment. I can't wait to see it again.
Francis Ford Coppola in Buenos Aires
Thousand of miles away from Hollywood, the great Francis Coppola confronts something personal as a human being as well as a filmmaker. The story a young man looking for his older brother under the crippling shadow of a famous father. Hummm. Compelling, absorbing, mesmerizing at times. The younger brother is played with real magic by newcomer Alden Ehrenreich but for some inexplicable reason the older brother and title role is played by Vincent Gallo. He's an interesting guy but not at all the pivot that, clearly, the part required. I needed to feel things that Gallo didn't provide. He's just weird and even in the enormous emotional scenes (like the final one) he's not really there. I wonder why Coppola made this bizarre casting decision. The rest of the cast is fabulous and Buenos Aires breaths a life of its own even if, it didn't feel like Buenos Aires - I know that city pretty well - it looked at times like a border town in Mexico. Buenos Aires has an old fashion, seductive kind of elegance nowhere to be found here. I'm sure there is reason for it and I hope to discover it in my next viewing because this is a film I know I'll see many, many times. Another thing to cheer about, a strange and haunting score (it reminded me of "Apartment Zero" in more ways than one) and a sensational black and white Cinemascope screen. To be seen!
Coppola back on form
17 year-old Bennie works as a waiter on a cruiseship. When the ship suffers engine difficulties and docks in Buenos Aires, he uses the opportunity to attempt to reconnect with his estranged brother Tetro, a once promising writer. He is welcomed with open arms by Tetro's girlfriend, Miranda. She longs to know the truth behind her boyfriends past and what made him the misanthrope he is today. Tetro is hostile towards his brother, his plan was to never see any of his family again, and so keeps him at arms length. Bennie discovers an incomplete play, written in code whilst his brother was undergoing psychiatric treatment. He decides to finish the play and enter it in a festival run by Argentina's most powerful critic, Alone. Faced with this upheaval, Tetro is forced to come to terms with his relationship to his younger brother and his father, a famous conductor. Tetro is, at its core, a film about family, in particular the relationship between brothers and their Father. A theme Francis Ford Coppola has immersed himself in before, most notably in The Godfather and Rumble Fish. Through a series of flashbacks we are given a glimpse of major events in Tetro's youth, his relationship with his father (played by Klaus Brandauer) and his subsequent departure. There are huge family secrets known only to Tetro and revealed to Bennie in an ending which echoes great literary and operatic works. Coppolas love of opera and theater is stamped all over the script and the city of Buenos Aires seems to be the perfect background in which to set this story. Shot stunningly in digital monochrome with colour flashbacks, it has some aesthetic similarities to Rumble Fish. Coppola and cinematographer Mihai Malaimare Jr. reportedly site On The Waterfront and La Notte as big influences on the films visual style. There are certainly elements of both here, with the film also retaining its visual sense of self. It is operatic in both its narrative and its mise-en-scene. The idea of cutting between colour and monochrome as well as changing aspect ratios sounds as if it would be jarring, and it typically is. But for the purposes of Tetro it works perfectly. Seen as a controversial choice by some, Vincent Gallo brings an edge to the titular character that some other actors may have lacked. However it is newcomer Alden Ehrenreich who steals the show as Bennie, a wayward teenager looking for guidance and approval. Maribel Verdu, as Miranda, provides the conduit between the two in a typicaly solid performance. Hollywood is littered with once great directors who have fallen from grace, which makes Tetro all the more remarkable as a return to form from one of the greatest, Francis Ford Coppola.
cinema that throbs and kicks and is passionate - one of Coppola's triumphs
Tetro may be the "best" film Francis Ford Coppola has made in twenty-five years. Whether this speaks more to the quality of his present state of direction as an artist or on the relative hits and misses of his career in the dregs of Hollywood (be it aiming high and just missing the mark with Godfather 3 and Dracula to stuff that went over people's heads like Youth Without Youth to even crap like Jack) is a combination. He's someone who attained financial success at a time, but then lost nearly all of it and along with it, arguably, some of his artistic merit. But after years of laying low and making wine, and making a whacked-out experiment that people either dug as an abstract piece or hated to hell ('Youth'), he comes out with Tetro like a porn star with a five-foot erection. He's got something to prove, if not to his audience then himself, and he proves it with a story that is personal and a film-making technique that recalls other masters but never too directly. Tetro is about family, a subject Coppola is, of course, well-versed in being it the notorious kind (of course, the Godfather) and the more low-level and oddly intimate (Rumble Fish). It's a story, as with Rumble Fish, told in crisp black and white widescreen with flashes of color for flashbacks which may or may not be real, and as homage to operas like The Tales of Hoffmann. The title character, wonderfully and intensely portrayed by Vincent Gallo, is in a creative exile in Buenos Aires, a once promising writer living with his doctor-wife (Maribel Verdu, great as always) who is paid a visit one day by a young man, his brother Bennie (baby-faced newcomer Alden Ehrenreich) who hasn't seen him in years. There's secrets withheld by Tetro, not least of which about their parents, and soon an unfinished, longhand written play by Tetro (real name Angelo) is discovered by Bennie in a suitcase. He'll finish his brother's play, but at what cost? The damaged, almost bi-polar writer, the insistent and impressionable brother, the strong but uncertain woman, these characters are fully realized by Coppola, and then on top of this comes a sort of terrific puzzle that is constructed through Tetro's unfinished play: what about their father, a famous composer (Klaus Maria Brandeur) who split them apart, possibly, or possibly not? What about their mother, who died in a car accident? What about the bond between Tetro and his former mentor, "Alone", the dubbed "most important critic in South America" who has created a pretentious empire around herself? Questions arise, and Coppola rises to the challenge of giving the audience answers but not spoon-fed. It's first and foremost a story of family, of brothers who love but have to find ways to contend with their damaged selves(inspiration being Rocco and His Brothers mayhap), and it's here that it's just about classic, on par with Rumble Fish if not even deeper and wiser about the effect of parents, or lack thereof, in lives spent and possibly wasted. The writing is immensely interesting, always, even when Coppola may fall into over-indulging in his fantastic self-indulgence as an artist, such as with the operatic flourishes towards the end (this may not make sense, but compared to the WAY over indulgence of the hard-to-defend Y.W.Y it will). If anything the little imperfections, those brush strokes that go so high with the colors and shadows and impressionistic lighting that he and DP Mihai Malaimaire Jr engage in (one who hopefully will be getting more work following such spectacular work on a mix of 35mm and HD) along with Walter Murch's dependable editing, make it an even stronger work. It should feel a little messy here and there, because its subject matter is about finding a sense of purpose, in each other and in one's art. One feels Coppola working through a history of close but torn family ties, of losing loved ones (i.e. his own son), and at the same time a love of them all and of cinema peeking through in nearly every scene, even the ones where it doesn't look like much is going on. Tetro is the antidote, basically, for this month's Transformers sequel. If you need to find the polar opposite of a picture based practically on just making money and reeling in the crowds with its dumb giant robot battles and preposterous and shallow theatrics, look no further than a picture which cares about its characters, its multi-faceted story and themes, and about projecting a technique that hearkens back to cinema of the 50s and 60s while sticking to an originality by its filmmaker. This will likely stay with me for a while, which is what Coppola's most profound works have done.
Stunning; Absoltuely stunning...
I am not a film major. Hell I've never even been to college. Through my horrible grammar and misspellings, you will take note of how I even barely got through high school. There are films out there that have puzzled me (anything by David Lynch), films that have made me laugh (Dumb and Dumber was my favorite) and foreign films that I once considered to be the way films should be made (Let the Right One In, Ichi the Killer). I've seen films that have bored me (Gummo, Brown Bunny) and have had my guilty pleasure(unfortunately, Transformers 2. But never, NEVER in my life have I seen a film that has engrossed me like this has. I have never walked out of a theatre in absolute awe. Never have I truly been able to say that a film made me laugh, made me cry, made me FEEL true emotions for a character. Such beautiful cinematography, such bold yet unobtrusive dialog... no one character "steals the show". I sat in that theatre for 143 minutes and not once was I bored. Not once was I annoyed by a character, or a one-liner. Not once was my jaw not dropped. This film is what a film should be... what films were meant to be. There are movies out there for entertainment but every once in a while, there is a film that comes along that changes the way you feel about entering a theatre all together. I viewed this film with 10 other people in a small college theatre that will only play this film for one week. And the only reason I came to watch it was because my girlfriend absolutely adores Vincent Gallo (which he is amazing in) and no other reasons than that. I don't know what else I could say about this film that could praise it any more that I have. I love this film. It's the greatest movie I've ever seen. That may not seem like much to you since you all have possibly seen similar movies in film class, or through word of mouth. But for the average joe such as myself, this film is a masterpiece. Bravo, Copolla. Bravo.