It was the year 1994, and I, a teenager movie enthusiast, was anxiously awaiting another Oscar ceremony, since the list of candidates included very interesting titles, such as Schindler's List (Steven Spielberg); In the Name of the Father (Jim Sheridan); The Remains of the Day (James Ivory); The Fugitive (Andrew Davis) and The Piano (Jane Campion).
It was a cinematographic year that marked me, not because of the big winner consecrated there, Schindler's List, but because of The Fugitive (a Harrison Ford fan) and, above all, because of the titles In the Name of the Father and Os Despojos do Dia, which continue to appear on my list of all-time favorite movies. Having recently reviewed The Remains of the Day, I was able to confirm what struck me as a teenager: a masterful achievement by James Ivory (it is, by the way, to praise his predilection for literary works - the film was inspired by the book by Kazuo Ishiguro, Nobel of literature in 2017) and played by Anthony Hopkins and Emma Thompson, two irreproachable actors, in their mannerisms, in the articulation of the dialogues, in the facial expressions, without excesses, all in the right dose. Hopkins even represents with his eyes, managing to convey the essence of that dignified and faithful butler. It seems, however, that this magnificent film was overshadowed by Schindler's List, which dominated the spotlight in 1994.
It was a cinematographic year that marked me, not because of the big winner consecrated there, Schindler's List, but because of The Fugitive (a Harrison Ford fan) and, above all, because of the titles In the Name of the Father and Os Despojos do Dia, which continue to appear on my list of all-time favorite movies. Having recently reviewed The Remains of the Day, I was able to confirm what struck me as a teenager: a masterful achievement by James Ivory (it is, by the way, to praise his predilection for literary works - the film was inspired by the book by Kazuo Ishiguro, Nobel of literature in 2017) and played by Anthony Hopkins and Emma Thompson, two irreproachable actors, in their mannerisms, in the articulation of the dialogues, in the facial expressions, without excesses, all in the right dose. Hopkins even represents with his eyes, managing to convey the essence of that dignified and faithful butler. It seems, however, that this magnificent film was overshadowed by Schindler's List, which dominated the spotlight in 1994.