एक खतरनाक पोस्ट-एपोकैलिप्टिक दुनिया में, एक बीमार पिता अपने बेटे का बचाव करता है क्योंकि वे धीरे-धीरे समुद्र की यात्रा करते हैं.एक खतरनाक पोस्ट-एपोकैलिप्टिक दुनिया में, एक बीमार पिता अपने बेटे का बचाव करता है क्योंकि वे धीरे-धीरे समुद्र की यात्रा करते हैं.एक खतरनाक पोस्ट-एपोकैलिप्टिक दुनिया में, एक बीमार पिता अपने बेटे का बचाव करता है क्योंकि वे धीरे-धीरे समुद्र की यात्रा करते हैं.
- 1 BAFTA अवार्ड के लिए नामांकित
- 5 जीत और कुल 34 नामांकन
Jeremy Ambler
- Man In Cellar #1
- (बिना क्रेडिट के)
Aaron Bernard
- Militant
- (बिना क्रेडिट के)
कहानी
क्या आपको पता है
- ट्रिवियाTo live the role, Viggo Mortensen would sleep in his clothes and deliberately starve himself. At one point, he was thrown out of a shop in Pittsburgh, because they thought he was a homeless man.
- गूफ़It's wasteful to keep humans alive as food since captives still need to eat. Like any animal, butchering immediately and preserving through dehydration is more efficient.
- क्रेज़ी क्रेडिटOver the end credits, we hear the sounds of children playing. What the world must have been like in happier times.
- कनेक्शनFeatured in At the Movies: Venice Film Festival 2009 (2009)
- साउंडट्रैकSonata for Violin and Harpsichord No. 3 in E Major: Adagio Ma Non Tanto
Written by Johann Sebastian Bach (as J.S. Bach)
Arranged by Ryan Franks
Performed by Ryan Franks & Harry Scorzo
Courtesy of Crucial Music Corporation
फीचर्ड रिव्यू
"We are not gonna quit. We are gonna survive this." The Man
Survival is the ultimate motif of the Cormack McCarthy Pulitzer The Road. And so too is the film adaptation, faithful to the original while adding what McCarthy can't—the actualization of a landscape barren of life and humans barren of humanity. Then again, the film's failure is being even bleaker than the source, a testimony to the power of the imagination.
Except for a father (Viggo Mortensen) and young son (Kodi Smit-Mcphee), who represents the hope of the human race as the story assumes the trappings of allegorical, post-apocalyptic literature and film where the desolate outside mirrors the lonely inside of the humans, not all of whom are willing to carry on the good fight. Suicide becomes a leitmotif, a companion to hope as if out of a Bergman film, an escape from the horrible aftermath of devastation never explained. So much the better because allegorically there are numerous ways for us to ruin our earth and our spirits. Not the least of which could be nuclear or cannibal; the former does not make an appearance while the latter is omnipresent.
Director John Hillcoat has emphasized more than McCarthy the role, by flashback, of the wife/mother (Charlize Theron), but overall he has taken dialogue directly from the novel and stayed true to the bleak landscape where the sun doesn't shine and the trees fall intermittently like humans giving up the ghost.
The gray tones and beat up humans are like those in most post- apocalyptic films; however, as in Children of Men to a lesser extent, the focus is on how to survive, not even how to avoid death. In both cases, it's up to the young ones to "carry a fire' (the mantra of The Road), itself a metaphor for the strength to survive:
"Everything depends on reaching the coast. I told you I would do whatever it takes." The Man
Survival is the ultimate motif of the Cormack McCarthy Pulitzer The Road. And so too is the film adaptation, faithful to the original while adding what McCarthy can't—the actualization of a landscape barren of life and humans barren of humanity. Then again, the film's failure is being even bleaker than the source, a testimony to the power of the imagination.
Except for a father (Viggo Mortensen) and young son (Kodi Smit-Mcphee), who represents the hope of the human race as the story assumes the trappings of allegorical, post-apocalyptic literature and film where the desolate outside mirrors the lonely inside of the humans, not all of whom are willing to carry on the good fight. Suicide becomes a leitmotif, a companion to hope as if out of a Bergman film, an escape from the horrible aftermath of devastation never explained. So much the better because allegorically there are numerous ways for us to ruin our earth and our spirits. Not the least of which could be nuclear or cannibal; the former does not make an appearance while the latter is omnipresent.
Director John Hillcoat has emphasized more than McCarthy the role, by flashback, of the wife/mother (Charlize Theron), but overall he has taken dialogue directly from the novel and stayed true to the bleak landscape where the sun doesn't shine and the trees fall intermittently like humans giving up the ghost.
The gray tones and beat up humans are like those in most post- apocalyptic films; however, as in Children of Men to a lesser extent, the focus is on how to survive, not even how to avoid death. In both cases, it's up to the young ones to "carry a fire' (the mantra of The Road), itself a metaphor for the strength to survive:
"Everything depends on reaching the coast. I told you I would do whatever it takes." The Man
- JohnDeSando
- 10 नव॰ 2009
- परमालिंक
टॉप पसंद
रेटिंग देने के लिए साइन-इन करें और वैयक्तिकृत सुझावों के लिए वॉचलिस्ट करें
विवरण
- रिलीज़ की तारीख़
- कंट्री ऑफ़ ओरिजिन
- भाषा
- इस रूप में भी जाना जाता है
- El ultimo camino
- फ़िल्माने की जगहें
- उत्पादन कंपनियां
- IMDbPro पर और कंपनी क्रेडिट देखें
बॉक्स ऑफ़िस
- बजट
- $2,50,00,000(अनुमानित)
- US और कनाडा में सकल
- $81,17,000
- US और कनाडा में पहले सप्ताह में कुल कमाई
- $15,02,231
- 29 नव॰ 2009
- दुनिया भर में सकल
- $2,76,39,579
- चलने की अवधि1 घंटा 51 मिनट
- रंग
- ध्वनि मिश्रण
- पक्ष अनुपात
- 2.35 : 1
इस पेज में योगदान दें
किसी बदलाव का सुझाव दें या अनुपलब्ध कॉन्टेंट जोड़ें