e Rachel Weisz è un poco meno.
un film che ti tiene incollato fino all'ultimo minuto, il racconto va avanti e indietro, ma si segue benissimo.
non trascuratelo, vale davvero il tempo che gli dedicherete - Ismaele
…"The Constant Gardener" begins with a strong, angry story, and peoples it with actors who let it happen to them, instead of rushing ahead to check off the surprises. It seems solidly grounded in its Kenyan locations; like "City of God," it feels organically rooted. Like many Le Carre stories, it begins with grief and proceeds with sadness toward horror. Its closing scenes are as cynical about international politics and commerce as I can imagine. I would like to believe they are an exaggeration, but I fear they are not. This is one of the year's best films.
…The constant gardener est un film qui est beau, graphiquement, avec une photo magnifique rendant hommage aux paysages africains, à leur âpreté et à la sécheresse environnante. Mais c’est aussi un film dur, terriblement dur, dans un monde où le mensonge et la duperie règne en maître, un monde où les actes infimes et sans conséquences apparentes, entraînent des drames épouvantables. Mais il se révèle être aussi une magnifique déclaration d’amour…à titre posthume. Du grand cinéma, véritablement du 7 ème art.
…The Constant Gardener disturbs, lingers in the mind, for its images of Africa, images of corporate thuggery, images of well-meaning people drowning in their own self-deception (Woodrow), for its inner look at the machinations of imperialism with its mendacious servants, and so forth. Society is in deep crisis, and cinema is called on to continuously address this fact.
The Constant Gardener (2005), one of the best films of the past decade, has had numerous admirers, but because of its many themes, it has been viewed, and criticized, from a number of different angles. Based on John Le Carre’s 2001 novel of the same name, the film can be variously experienced as primarily a mystery/thriller, an expose of the pharmaceutical industry, an expose of Western statecraft’s subservience to globalized capitalism, or a love story, depending on one’s predilections. In fact the task of taking Le Carre’s typically intricate novel of 550-plus pages and somehow fashioning an entertaining, not to mention comprehensible, two-hour movie out of the material must have been daunting. But I would say Brazilian director Fernando Meirelles was definitely up to the task, and he made superb choices to create something special – a gripping cinematic story that has a reflective philosophical motif at its core. Meirelles had already attracted international intention with his spectacular previous outing, The City of God (2002), which was a startling, visceral drama about crime in the Rio de Janeiro suburban slums. With The Constant Gardener, his first English language film, he displayed further mastery and an impressive new expressive dimension…
…At the end of the film while awaiting his grim fate, Justin soliloquizes aloud to his departed Tessa, "I know your secret now". That secret was Tessa's feeling of engaged compassion towards the entire world. Justin had moved in the film from the withdrawn world of the gardener, to the passionate embrace of his beloved, and on to that level of comprehensive compassionate engagement. We need to do that in a more inclusive fashion and think about empathy in a wider, social context. Perhaps The Constant Gardener may be a little bit helpful in getting us to think and feel along these lines.