Dois nova-iorquinos acusados de assassinato na zona rural do Alabama enquanto voltavam para a faculdade pedem ajuda a um de seus primos, um advogado sem experiência.Dois nova-iorquinos acusados de assassinato na zona rural do Alabama enquanto voltavam para a faculdade pedem ajuda a um de seus primos, um advogado sem experiência.Dois nova-iorquinos acusados de assassinato na zona rural do Alabama enquanto voltavam para a faculdade pedem ajuda a um de seus primos, um advogado sem experiência.
- Direção
- Roteirista
- Artistas
- Ganhou 1 Oscar
- 5 vitórias e 6 indicações no total
- Constance Riley
- (as Pauline Meyers)
Enredo
Você sabia?
- CuriosidadesThe misunderstanding between Vincent Gambini and Judge Haller regarding the two "youts" was in fact a real conversation between Joe Pesci and director Jonathan Lynn. Lynn, who is English, at first had a hard time understanding Pesci's pronounced New York accent. He decided that the routine was quite funny and put it in the film.
- Erros de gravaçãoWhile judges do make errors once in awhile, it is practically impossible that any judge would overrule Vinny's objection to George Wilbur's testimony. To do so would almost certainly cause a conviction to be overturned at the appellate level.
- Citações
Mona Lisa Vito: You're goin' hunting?
Vinny Gambini: That's right.
Mona Lisa Vito: Why are you going hunting? Shouldn't you be out preparing for court?
Vinny Gambini: I was thinking last night. If only I knew what he knows, you know? If he'd let me look at his files; oh boy.
Mona Lisa Vito: I don't get it. What does getting to Trotter's files have anything to do with hunting?
Vinny Gambini: Well, you know, two guys, out in the woods, guns, on the hunt. It's a bonding thing, you know; show him I'm one of the boys. He's not gonna let me look at his files, but maybe he'll relax enough to drop his guard so I can finesse a little information out of him.
[Vinny searches through his clothes]
Vinny Gambini: What am I gonna wear?
Mona Lisa Vito: What are ya gonna hunt?
Vinny Gambini: I don't know. He's got a lot of stuffed heads in his office.
Mona Lisa Vito: Heads?
[Vinny looks up at Lisa]
Mona Lisa Vito: What kinda heads?
Vinny Gambini: I don't know, he's got a boar, a bear, a couple of deer.
Mona Lisa Vito: Whoa. You're gonna shoot a deer?
Vinny Gambini: I don't know. I suppose. I mean, I'm a man's man, I could go deer hunting.
Mona Lisa Vito: A sweet, innocent, harmless, leaf-eating, doe-eyed little deer.
Vinny Gambini: Hey Lisa, I'm not gonna go out there just to wimp out, you know. I mean, the guy will lose respect for me, would you rather have that?
[Lisa gets up, walks over to the bathroom and shuts the door]
Vinny Gambini: What about these pants I got on, you think they're O.K.?
[Vinny looks down]
Vinny Gambini: Oh!
Mona Lisa Vito: [comes out of the bathroom] Imagine you're a deer. You're prancing along, you get thirsty, you spot a little brook, you put your little deer lips down to the cool clear water... BAM! A fuckin bullet rips off part of your head! Your brains are laying on the ground in little bloody pieces! Now I ask ya. Would you give a fuck what kind of pants the son of a bitch who shot you was wearing?
- Versões alternativasOne version that aired on television omitted the entire subplot of Vinny making a deal with a pool player, and the scene where Vinny finds out there is a slaughterhouse next to one motel they stay in. References that Vinny makes to both these elements are cut out from his rant to Lisa about all the trouble he's going through for his court case.
- ConexõesFeatured in Siskel & Ebert & the Movies: Breakthrough Stars of 1992 (1992)
- Trilhas sonorasWay Down South
Written by Edgar Winter
Performed by The Fabulous Thunderbirds
Produced by Barry Beckett for Beckett Productions
Courtesy of Epic Associated Records
Regardless of Joe Pesci's latent starpower, this cast of players as assembled possessed remarkable chemistry in the performances they gave, not only in their interactions with one another, but also in the creation of a final product that excels way beyond the sum of its parts, beyond any of their individual levels of genius, certainly beyond anything that could ever have been reasonably expected of them. Competent though they may have been, these were not thespian heavyweights or comedic savants. You ever wonder why this singular performance 15+ years ago and counting remains Marisa Tomei's magnum opus? That might be one big reason why. The Germans have a word for this. It's called gestalt.
My inclination is to give most of the credit for this winning final product to director Jonathan Lynn. It seems obviously to be his creation. Who else singularly deserves it? Along the way it would have been such a cheap trick and easy thing to surrender to the obvious, but Lynn didn't do it. This is a story built around stereotypes. New Yorkers. Ethnic Italian New Yorkers. Southerners. Small town southerners. Southern justice. Southern small town justice with New York Italians in the dock. It would have been so easy to traffic in those stereotypes, to over-the-top cash in on them, to submerge the movie in them and to exploit them for all they were worth. These people could have been made into cardboard cartoons of themselves. Surely the Englishman Lynn was thusly tempted, but it was a temptation he mainly resisted. Oh, almost obligatorily, he dances us over to that edge and gives us a big whiff of all that, but instead of jumping in and wallowing in the stereotypes, he deftly pulls it back and carries it all off and away in a new and different direction, indeed in an uplifting direction. Just as there are no cheap tricks in this movie, there are no cheap shots either. People are not ridiculed for who they are or where they are from. It rises above that. Lynn raises it above that. Yes, the regional differences that exist are juxtaposed. And yes, we get the fact that cultural differences divide these characters. But the beauty of it is that no one is treated unfairly. In fact, the viewer comes away with the feeling that these are all good people.
Joe Pesci and Marisa Tomei are given a broad canvas to create great humorous art, bouncing one, two, three liners or more off of each other, at the other's expense. It's the game they play with each other, the nature of their characters' relationship, and it's fun to watch. And this must be said: not only does Marisa give an exquisite performance, she is an utterly delightful feminine creature to watch here. As for the southerners, in not taking the bait to exploit the southerners as dumb hicks, Lynne actually captures part of the true but rarely portrayed essence of the south: polite gentility. Lane Smith embodies that essence. And Fred Gwynne? He practically steals the show, and would have were it not for Marisa Tomei.
What has been going through Joe Pesci's and Marisa Tomei's heads for the last 15 years? What is wrong with their agents? These two needed a sequel. If not a sequel, then more film(s) together. The dynamic between them was too good to just be abandoned. We should have been treated to much more of them together.
As a trial lawyer let me say that the portrayal of courtroom events, while certainly not perfect, is more than adequate and passable. One thing that is accurately captured is the fish-out-of-water experience of a city lawyer when subjected to trying a case in a far-flung rural county. This depicton conveys the essence of what that's like.
This movie deserves more recognition. It is clever, funny, and fun. I recommend it. If you haven't seen it, do yourself a favor and indulge yourself.
- tightspotkilo
- 18 de dez. de 2007
- Link permanente
Principais escolhas
Detalhes
- Data de lançamento
- País de origem
- Central de atendimento oficial
- Idioma
- Também conhecido como
- Mi primo Vinny
- Locações de filme
- Eatonton, Geórgia, EUA(General Putnam Motel)
- Empresas de produção
- Consulte mais créditos da empresa na IMDbPro
Bilheteria
- Orçamento
- US$ 11.000.000 (estimativa)
- Faturamento bruto nos EUA e Canadá
- US$ 52.929.168
- Fim de semana de estreia nos EUA e Canadá
- US$ 7.416.751
- 15 de mar. de 1992
- Faturamento bruto mundial
- US$ 64.088.552
- Tempo de duração2 horas
- Cor
- Mixagem de som
- Proporção
- 1.85 : 1