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gigante PFG LOCANDINA

Regia
Steven Spielberg
Genere
Adventure, Fantasy, Family
Durata
117'
Anno
2016
Produzione
DreamWorks SKG
Cast

Mark Rylance, Ruby Barnhill, Penelope Wilton, Rebecca Hall, Rafe Spall, Jemaine Clement, Bill Hader.

Trama

SUMMARY: The BFG tells the imaginative story of a young girl and the Giant who introduces her to the wonders and perils of Giant Country. The BFG (Mark Rylance), while a giant himself, is a Big Friendly Giant and nothing like the other inhabitants of Giant Country. Standing 24-feet tall with enormous ears and a keen sense of smell, he is endearingly dim-witted and keeps to himself for the most part. Giants like Bloodbottler (Bill Hader) and Fleshlumpeater (Jemaine Clement) on the other hand, are twice as big and at least twice as scary and have been known to eat humans, while the BFG prefers Snozzcumber and Frobscottle. Upon her arrival in Giant Country, Sophie, a precocious 10-year-old girl from London, is initially frightened of the mysterious giant who has brought her to his cave, but soon comes to realize that the BFG is actually quite gentle and charming, and, having never met a giant before, has many questions. The BFG brings Sophie to Dream Country where he collects dreams and sends them to children, teaching her all about the magic and mystery of dreams. Having both been on their own in the world up until now, their affection for one another quickly grows, but Sophie’s presence in Giant Country has attracted the unwanted attention of the other giants, who have become increasingly more bothersome. Sophie and the BFG soon depart for London to see the Queen (Penelope Wilton) and warn her of the precarious giant situation, but they must first convince the Queen and her maid, Mary (Rebecca Hall), that giants do indeed exist. Together, they come up with a plan to get rid of the giants once and for all.

Critica

REVIEW:
As the master craftsman of some of the most precious children’s films we have, Steven Spielberg more or less set down our entire visual language for childlike wonder. Beams of blue-white light filtering through mist, for instance, means you’re in a Spielberg film. It’s the only kind of light in cinema that deepens mystery rather than dispelling it – a will-o’-the-wisp that draws you onwards, off from the safe path and deeper into the dream.
That’s one reason Spielberg and Roald Dahl’s classic children’s book The BFG are such a neat fit: the director and his lead character are basically kindred spirits. The Big Friendly Giant, played here with twinkling mastery by Mark Rylance, catches dreams like fireflies and puffs them into children’s heads at night: Spielberg, meanwhile, chose to call his production company DreamWorks, and drew much of his work from the flickering memories of his own childhood.
The Big Friendly Giant knows he can’t make up for the horrific actions of his child-chomping kin – a neuftet of soaring horrors with names like Fleshlumpeater and Meatdripper. But as he tells Sophie (newcomer Ruby Barnhill), a young orphaned girl who catches him at work one night and whom he summarily sprits off to Giant Country: “It be as good as I can do.”
The same applies to Spielberg’s adaptation of Dahl’s novel. What’s immediately obvious is that the film is a significant technical accomplishment: the infinitesimally detailed motion-capture technology alone, which stretches Rylance’s human performance to gargantuan proportions, is river-straddling bounds beyond anything that’s come before it. (His hands look warm and weathered, and his eyes – there’s no other way to put it – just shine with life.) But as the film plays, the technology itself just melts away. You’re watching a girl and a giant explore a landscape of astonishments – and while the note-perfect script, written by the late Melissa Matheson (who also scripted E.T.), treats Dahl’s words with radiant respect, it also subtly reworks them to make the story cinematic to its soul.The part in which the BFG and Sophie meet the Queen herself (a superb Penelope Wilton) is mostly taken up with the consumption of the BFG’s giant-sized breakfast: bales of toast, a punchbowl of coffee, slippery heaps of fried eggs on silver trays. But Spielberg’s camera watches the meal with the tireless fascination of a three-year-old: like the rest of the film it’s a tactile, playful, imagination-sparking sequence, enriched by a persuasive and elegant use of 3D.
In a classic Spielbergian game of scale, Sophie walks past a dolls’ house in the corridor of her orphanage, and looks into the shoebox-sized bedroom in much the same way the BFG will soon peer – and reach – into hers. It’s a wry moment, but also an unexpectedly sad one, because you realise a bedroom of her own – and the life that goes with it – is all that Sophie yearns for.
The lack of narrative busyness allows Spielberg and his cast to immerse us in the film’s gloriously realised world, while also feeling their way to the very corners of its central relationship. Sophie and the BFG’s partnership almost plays like a platonic romance, deepening and becoming more moving with every passing minute. As Sophie, 11-year-old Barnhill is an ideal Dahlian heroine: valiant and smart, with a thick stubborn streak and a face given to glimmering with amazement. Rylance, meanwhile, is as good a fit for the film as Spielberg: his BFG could almost be the distant ancestor of his indelible forest-dwelling troublemaker Johnny “Rooster” Byron in the Jez Butterworth play Jerusalem. The BFG’s claims to have heard “faraway music coming from the stars in the sky” and “the footsteps of a ladybird as she goes walking across a leaf” have a strange spiritual kinship with Rooster’s own wild confabulations. He boasts of owning a drum made from the earring of a giant who built Stonehenge, and later summons up the “drunken devil’s army” of Cormoran, Jack-of-Green, Jack-in-Irons, Thunderell, Buri, Blunderbore and others whose names wouldn’t sound out of place alongside Fleshlumpeater (Jemaine Clement), Bloodbottler (Bill Hader) and the rest. During some of Rylance’s monologues here, The BFG almost feels like Jerusalem for children – while at other moments it could almost be Spielberg’s Powell and Pressburger film, with its velvety, butter-icing colours, swirling romantic mysticism, and metaphysical attunement to the landscape. In the film’s enigmatic opening shot, the camera pans down thoughtfully from the Houses of Parliament to the River Thames sparkling in the darkness. The threshold to Dream Country is closer at hand than we can possibly know.
By Robbie Collin, Film Critic, Telegraph.co.uk, 22 July 2016

Trailer


Altre informazioni

Writer: Christopher Abbott (Writer), Melissa Mathison (Screenplay By), Roald Dahl (Novel)



 

 

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