The event also served part of the National Trust's "Prejudice and Pride" programme, which marked 50 years since the partial decriminalisation of homosexuality in the United Kingdom with the passage of the Sexual Offences Act 1967. (The literary editor who judges the work as "quite good" is portrayed by Heathcote Williams—the same actor who played the poet who had, earlier in the film, denigrated Orlando's poetry.) Enter your mobile number or email address below and we'll send you a link to download the free Kindle App. Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon. Unlike a biography of her time, the action is secondary to the internal story. Please try your request again later. These dementia-themed films might get their due at 2021 Oscars, including ‘The Father’ and ‘Dick Johnson is Dead’, 02 September 2020 A novel about gender identity, from a time long before people talked much about it. It was written and directed by Sally Potter, who also co-wrote the music for the film (with David Motion).[4]. This fantastic story opens with the protagonist, Orlando, a young noble boy, pretending to chop off the heads of Moors, just like his father and grandfather have done. You haven't seen anything like it. Orlando as a female realises it is for her 'to refuse and then to yield' in the romantic encounters - as opposed to the male 'pursue and conquer' approach that Orlando had known as a male. Viewing this film for other reasons will almost certainly lead to a negative impression. After Queen Elizabeth I commands him not to grow old, a young nobleman struggles with love and his place in the world. Orlando was nominated for two Academy Awards: Best Costume Design, Best Art Direction. [23], Orlando, both the film and the novel, was the main inspiration for both the 2020 spring exhibition of the Costume Institute at the Metropolitan Museum of Art and the 2020 Met Gala. Very repetitive. Just a different sex. Miraculously, he does just that. The film follows him as he moves through several centuries of British history, experiencing a variety of lives and relationships along the way, and even changing sex. Sally Potter has made a beautiful, if decidedly wobbly, movie out of Virginia Woolfs novel about a 16th-century nobleman who evolves, across some 400 years, into a modern woman in her mid-30s. His attempts to befriend a celebrated poet, however, backfire when the poet ridicules his verse. (Woolfe, 189). Reviewed in the United States on December 26, 2010. Credit where credit is due: Potter more or less successfully converted a crazy, overflowing tome into something simple and attractive. Queen Elizabeth I is also played by the "wrong" sex. Swinton plays both male and female Orlando with cool humor. Reviewed in the United Kingdom on July 7, 2020, I cannot find the words to comment on this it. The storyline was simplified [and] any events which did not significantly further Orlando's story were dropped.[1]:14. "[11], By contrast, Kenneth Turan of the Los Angeles Times described Orlando as "hollow… smug… and self-satisfied" and complained that "any kind of emotional connection to match [Orlando's] carefully constructed look… is simply not to be had. [1]:15 One obvious similarity remained, however: the film ends in its present day, 1992,[1]:15[b] just as Woolf's novel ends in its present day, 1928.[9]. Dreadful stream of consciousness writing. Yet through all its carefully crafted language and delightful parody, the gender message she professes is much the same today as it may have been then, that "Clothes ... change our view of the world and the world's view of us...." Orlando challenges the Eurocentric binary gender construct of the world she lived in. Ho cercato ovunque questo film senza trovarlo in versione italiana, quando poi finalmente ho scoperto quest'unica edizione al momento disponibile nella mia lingua. Having lived a most bizarre existence, Orlando, relaxing with her daughter and daydreaming philosophically under a tree, has finally found a tranquil niche. Tilda Swinton plays the never aging male/female lord/lady Orlando. Reviewed in the United States on March 10, 2019. Orlando could well become a classic of a very special kind—not mainstream perhaps—but a model for independent film makers who follow their own irrational muses, sometimes to unmourned obscurity, occasionally to glory. Small problem: the estate is granted to Orlando the young man; but, along the line Orlando wakes up a woman and unless he/she has a child the estate is forfeit unless s/he has a male heir. When I read the novel for the first time, I was immediately intrigued to this alternate perspective. Il existe peu de films comme celui-ci, absolument inclassable par son originalité et son histoire.

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