sharm-el-sheih.com - Kaufen Sie Desolation - 16 Years of Alcohol günstig ein. Qualifizierte Bestellungen werden kostenlos geliefert. Sie finden Rezensionen und Details. Frankie hängt bereits in frühen Jahren an der Flasche, lässt sich mit den falschen Freunden ein und schlägt sich als prügelnder Skinhead durch die Nächte von. 16 Years of Alcohol (Desolation). 1 час. 46 мин+. Seit seiner von Gewalt geprägten Kindheit hängt Frankie am Whiskeyglas. Seine Alkoholsucht und.
Desolation -16 Years of AlcoholDesolation – 16 Years of Alcohol ist ein britischer Film von Richard Jobson, der auf dem Internationalen Filmfestival von Locarno vorgestellt wurde. Find 16 Years Of Alcohol [Import italien] at sharm-el-sheih.com Movies & TV, home of thousands of titles on DVD and Blu-ray. 16 Years of Alcohol - der Film - Inhalt, Bilder, Kritik, Trailer, Kinostart-Termine und Bewertung | sharm-el-sheih.com
16 Years Of Alcohol We need you! Video16 Years of Alcohol
Forget the dismal comments of those too cynical to enjoy real film-making. See this poetic triumph for yourself.
Was this review helpful? Sign in to vote. Co-founder of The Skids-turned-film critic Richard Jobson puts his ambition where his mouth is in a striking directorial debut.
Superficial comparisons to Trainspotting are inevitable set in Edinburgh, starring Kevin McKidd and featuring Ewen Bremner in a tale of struggle against addiction but the gentle mood, flourishes of Expressionist style, John Rhodes' luminous photography and a haunting piano score plant this firmly in art-house territory.
After witnessing his father's philandering, Frankie Mac McKidd grows into the hard-drinking leader of a gang of skinheads with Jobson trowling on the visual references to A Clockwork Orange until the love of a good woman gives him a way out.
But redemption proves a big step and his aggressive paranoia ensures he's not out of woods yet. The work of Chungking Express director Wong Kar-Wai, who encouraged this project, is a major influence and a mixed blessing for Jobson; he occasionally over-eggs his point too literally a moment in which Frankie appears to have come full circle is unnecessarily overplayed with flashbacks to remind you why it's poignant and McKidd's melancholy voice-over sometimes intrudes.
But these are small flaws in a passionate, poetic film about hope which makes a genuine attempt to find a unique cinematic voice and is powered by an awesome, committed and hugely credible performance from McKidd.
Chris Knipp 17 April Early scenes depict Frankie, the young boy and his father. We then jump forward to the big, muscular Frankie Mack Kevin McKidd terrorizing pubs and shops with his three mates like Alex and his dogies in "A Clockwork Orange" but without Alex's archness and glee.
Frankie also gets into fights with his own mates and woos Helen Laura Fraser , who clerks in a record shop. Eventually the hero, whose brooding voice-overs constantly intrude, loses Helen, though for a while she seems to have tamed him and turned him from Mars into Artemis, bearer of good news -- as she puts it in a game they play on a colonnade perched high up above the town.
Frankie gets stabbed and kicked senseless S. One shot hints that Frankie's employed in a workshop or factory, but specific detail is lacking: the film is deliberately short on connected narrative, going for passion and poetry over mundane realism.
Also welcome to an American is that unlike some Scottish films this one's English is crystal clear too. There is the power and sincerity of the simple small film in "Sixteen Years of Alcohol," but also a lack of narrative focus and sense of a whole world one finds in England's Sixties "angry young man" films beginning with "Saturday Night and Sunday Morning.
What's less appealing is the simplistic fatalism of the plot structure. One may wind up wishing Frankie had received more practical tips about how to stay off alcohol and violence, rather than focusing on his relationships with women, which aren't developed very far anyway.
The "dubious romanticism" shows up in the way a life is ultimately seen as circular as is the film's "ring" framing device and doomed, rather than -- what would be equally justified by the story -- moderately hopeful.
The chap is still young and healthy, after all, and he wants to get better. Why not suggest he's going in that direction? This is the first film for Jobson, previously known as the front man for the Seventies Scottish art punk band, the Skids, and, later as a poet, model, TV presenter, film producer and critic.
He has not disgraced himself in this semi-autobiographical effort the time-line follows that of his own Sixties childhood and Seventies youth.
What one remembers are the stark sometimes beautiful images. The high-flown, overwrought writing can be cloying, but may also point in a fresh new direction.
No Danny Boyle here, but rather, perhaps, a new style and voice. Seen March 26, at Cinema Village in New York. From Kevin McKidd's stunning performance to the exquisitely shot Edinburgh exteriors, this is one of the most beautiful and evocative films I've ever seen.
Anyone who grew up in Britain during the s will recognise much of what's up on-screen. McKidd and Jobson have captured the teenage experience of those years perfectly and reproduce the entire register of repressed emotions and violent undercurrents with unswerving accuracy.
Naturally, it's a film about redemption - of sorts - but the tantalising, bitter-sweet promise of love and hope that permeates this film is delivered with a genuine toughness that sets it apart from the usual Brit-flick.
File alongside some of the best European imports of recent years This is on one level a very gritty story of alcohol abuse and violence; on another it is an aesthetically realised elegy to hope and hopelessness.
The beautiful images of historic Edinburgh are used unpretentiously as a backdrop to mindlessly savage beatings and physical intimidation, cinematic techniques involving varied use of lighting, colour, slow motion and overt symbolism.
In one scene, the dead-end nature of the lives of people in a bar is demonstrated by showing them as corpses, seated with their drinks and covered in cobwebs, as the main protagonist looks on and questions his own downward-spiralling life of drink and vengeance.
There is some light in the character of Helen, an art school graduate whose love might inspire hoodlum Frankie to give up his drunken brawling loud-mouthed ways, but ultimately the story of the slow and painful attempts of an alcoholic to reform himself will be too easily forgotten.
There is a key aspect of film that Jobson seems to have forgotten - it has the ability to tell a story by showing it to you. You don't need to tell the audience what to think, because they'll see it.
The action here is interspersed with some of the most ponderous narration unleashed on the unsuspecting public - the purple prose of the sensitive fifth former.
And it should be unnecessary because their is a fine cast here and some beautifully composed and shot visuals. Maybe Jobbo felt that the basic story needed a lit bit of support.
And he may have been right, it lacks a basic credibility: 70s Edinburgh wasn't exactly full of beautiful brainy girls with a penchant for the Velvet Underground and a soft spot for a passing sociopath.
From the too neat and new looking clothes that character wears to the cod intellectualism that tries to link it all together, it's all too contrived for my taste.
Years later,he's formed a violence gang with three of his mates,terrorizing pubs and record shops with equal disdain.
But then he finds love and finds his faith in life being redeemed and decides to turn his back on his old ways and start a new life.
But then,he finds turning away from what you know is not very easy at all. The film is shot in a style and presentation that I wasn't expecting it to be.
The style of the story unravelled in a way I wasn't expecting either. But,if these are the provisos for enduring such an excellent film as 16 Years of Alcohol,I'll happily accept them.
Everything about the film just comes together brilliantly and perfectly. The script is fantastic,carried by lead star McKidd with a sobering,haunting presence and delivery making astute observations about life and especially the relevance of 'hope.
Frankie's story is extremely engaging,as we follow him down his path from a happy,idealistic young boy to a disillusioned young man who can't identify love to anything and can only see the hard,grainy reality of life and accordingly decides to follow suite,onto an older and more mature man,hardened by the realities of life but more adhered to them and functioned to deal with them more knowingly,only for it all to tragically come crashing down around him for one silly mis-understanding.
If a film like Trainspotting could have made it as big as it did,with a far superior script it's hard to see why this couldn't.
But maybe this should be kept apart from a mainstream audience and kept firmly stuck in it's art-house roots so that it can be appreciated by those who truly can.
It really is a fantastic experience,the best film I've seen in ages and one I'd whole-heartedly recommend you to see. Films about alcohol are usually depressing.
They rob all the enthusiasm for life one might have in just a few hours and leave you staring into the void at the end, wondering what the point was.
It's difficult to catalog them in any way, because a good "alcoholics movie" is one which swiftly flows along certain psychological retinues and steadily builds up to a mammoth of self deprivation.
However, this isn't truly a film about alcohol. It's more a film about getting a life yes, Trainspotting , portrayed in a less imaginative way.
It all gravitates around love and the end is helplessly tragic, but "Sixteen Years of Alcohol" isn't that bad.
Some sweet imagery and photography might make it worth your time. Expand the sub menu Awards. Expand the sub menu Video.
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Expand the sub menu More Variety. Switch edition between U. Edition Asia Edition Global Edition U. Asia Global. Second, taxation of alcoholic products has been adopted report 29 and the.
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Edit Cast Cast overview, first billed only: Kevin McKidd Frankie Laura Fraser Helen Susan Lynch Mary Stuart Sinclair Blyth Miller Michael MorelandJim Carter Director. Frankie's Father as Lewis MacLeod. This Scottish memoir of inebriation and sobriety leans heavily on the hurt of booze and rarely on the high.