Regie:
Miloš FormanScenario:
Michael WellerCamera:
Miroslav OndříčekMuziek:
Randy NewmanActeurs:
James Cagney, Brad Dourif, Moses Gunn, Elizabeth McGovern, Kenneth McMillan, Pat O'Brien, Donald O'Connor, James Olson, Mandy Patinkin (meer)Samenvattingen(1)
RAGTIME tells the story of four New York families at the turn of the 20th century. Starving immigrant artist, Tateh sets off to make his fortune in Hollywood, but along the way encounters showgirl Evelyn Nesbit who is at the center of a murder investigation. Meanwhile, an upper-class family finds their seemingly perfect existence ruined when black pianist Coalhouse Walker Jr. begins to romance a pregnant girl living in their home. (officiële tekst van distribiteur)
(meer)Recensie (4)
An amazing film, I think one of Forman's very best. It presents a longing for freedom from multiple perspectives, gradually interweaving these initially seemingly separate stories and then tying them together at the end. All of this is seen by a man who was not an American and longed for the same things as his characters and was therefore able to look at the subject a little differently than his American counterparts might have. P.S. Great music by Randy Newman.
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It's hard to say exactly what is wrong with Forman's film because it had an excellent crew, a great cast, well-known and highly dramatic source material, and high-quality elements such as music and set design. However, I was occasionally bored and the film did not captivate me in any way. In my opinion, it is unquestionably Forman's weakest foreign film. It lacks emotional engagement, pace, and coherence. Overall impression: 55%. It needed more daring editing and focus on a single protagonist and their fight for justice. The attempt to create a complex narrative about a certain period in the development of the USA slipped out of the director's hands...
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My least favorite film by Miloš Forman. This is probably because it is too raw and the typical Forman viewer will not appreciate James Cagney or the side storyline about the pioneers of optical toys who succeeded as filmmakers. Forman's audience understands the struggle for freedom and there are too many layers here.
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A strong topic, a beautiful retro setting and architectural style and a gripping second half that narrows the complex story into a spatially limited racial conflict. But in all that effort to be complex, the story doesn’t feel coherent at all; the motifs are thrown one after another and I really don’t get why the first act had to say what it primarily said. Forman had everything set for another great film, but he ended up with a good looking period puzzle with uneven pace and at times a haphazard sequence of scenes. But I loved seeing the old James Cagney and a young Sam Jackson, who’s been speaking the same way probably since kindergarten. 70%
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