Grand Piano Movie – Film Review – ‘Grand Piano’ – A frightened pianist takes action on her life Eugenio Mira’s thriller Grand Piano doesn’t hit all the notes, but it’s boldly written, and ultimately your -believable.
A world-renowned pianist known for cracking under the pressure of performance sits down to play a concert in front of a packed house. Then he sees the message scrawled in red on his sheet music: “Play one wrong note and you die.” The film almost writes itself.
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It’s a scriptwriter’s fantasy of a self-aware Hitchcockian thriller, boldly written, implausibly made, and even more believable. In fact, from the opera director to the perfect performances, everyone involved
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Appears on the same page, which helps viewers to take in the concept of the film.
That film set in a concert hall. Both films present their main characters on airplanes experiencing turbulence; When the boy in the side seat sees the main character’s anxiety, he assures him that everything will be fine. To
John McClane, that’s a relief; With Tom Selznick (Elijah Wood) about to be tragically destroyed, there couldn’t be worse news. He really hoped the plane would go down.
Tom is going to Chicago to play a concert; returned to public performance after five years out of the limelight. In his last famous performance, he froze at “La Cinquette”, an almost unplayable piece written by his former mentor who is now dead. Pressure and expectation are now Tom’s worst enemies, and all the reminders from the media, his colleagues and his actress wife Emma (Kerry Bishé) that tonight is really just sending to his anxiety.
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Tom will play with that famous 97-key Bosendorfer mentor, and while his favorite son and the shadow of the dead man are part of what drives Tom’s streak of perfection, that relationship is mostly in the moment who left Screenplay by Sundance favorite Damien Chazelle
It focuses more on the musical mentor-protégé relationship – it’s a focused, inventive device always justifying its premise, mining tension, analyzing how and why someone would training a sniper rifle on a grand piano and demanding perfection. When Tom realizes that the threats to his score are no joke – and apparently recognizes his biggest fan (John Cusack) through a headset – he is able to control the he has enough nerve to play.
Cusack’s aggressive and ruthless sniper is a great inspiration for a man who needs a reason to work tirelessly, but the character’s true motivation for the test will be less interesting. (Oh, well. Did anyone really care why Dennis Hopper wanted to blow up that bus?) Chazelle’s screenplay loses its bones with a predictable third act, but the direction never stops be a display of virtues. When Tom took the stage,
It is mostly shot in real time, and Spanish director Eugenio Mira manages the task of turning a three-movement piano concerto into a film score. He also injects comedy into what could have been a completely self-serious performance, and a couple’s fight in the audience increases the sense of danger in the concert hall.
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Mira wears the material with expressive camera movements and colorful blooms; Most importantly, he plays with finesse to the audience, letting the weight of what’s at stake rest on every pause and slip Tom sees close up as he runs down snipers and his henchmen. (Yes, that’s Alex Winter). When Emma’s life is also in danger, Tom struggles, and Mira raises the stakes while Tom secretly tries to warn someone while he put on the play of his life.
It must be said that the fingers that move quickly over the keys are almost always at Wood’s; Most of the film is Tom sitting at the piano, strategizing, negotiating, and fighting while playing a convincing world-class show. Long contact removes any doubt that Wood delivers a highly technical and physical performance.
In this one-of-a-kind thriller, a madman with a sniper rifle threatens a famous pianist in the middle of a concert, saying he and his wife will be killed if they don’t perform flawlessly. In desperation, the pianist tries to get help and end his torture.
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This biographical series follows the members of the legendary Motown group The Temptations, faithfully after their rise to fame and their downward spiral, spanning 40 years of chronological coverage. In 1958, when high school students in Detroit gather on street corners to meet girls, Otis Williams (Charles Malik Whitfield) finds his mother Haz (Tina Lifford) helping him sing, but not his stepmother of Edgar (Harold Surratt). When Williams puts together The Siberians – Franklin (DB Woodside) and Al Bryant (Chaz Lamar Shepherd) – producer Johnnie Mae Matthews (Vanessa Bell Calloway) records the group as Otis Williams and the Distants. They play with The Primes, including Kendricks (Terron Brooks) and Paul Williams (Christian Payton), and The Primettes (later The Supremes). When the group members come together as The Elgins, Berry Gordy (Obba Babatunde) begins to prepare the group. The name changed to The Temptations, and the 1963 New Year’s Eve parade was replaced by David Ruffin (Leon) Bryant. The Motortown Revue is underway, and Smokey Robinson (Erik Michael Tristan) teams up with Norman Whitfield (Mel Jackson) to write/produce My Girl and Ain’t Too Proud to Beg. As Ruffin gets hooked on coke, Gordy proceeds to introduce The Temptations to the white record buyers. In the second half, Dennis Edwards (Charles Ley) replaces Ruffin, and after the suicide of Paul Williams and some members leaving the group, Motown cancels the activity, only to return later for a reunion and induction into the Rock and Roll Hall of Fame. This four-hour miniseries premiered November 1 on NBC.
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Sean Anders and John Morris have teamed up to write and direct this adaptation of Charles Dicken’s holiday novel. This time, the story of the misanthrope Scrooge, who is visited by the ghost of Jacob Marley, as well as the ghosts of Christmas past, present and future, has been transformed into a show musical starring Will Ferrell, Ryan Reynolds and Octavia Spencer and featuring. new songs. Created by Benj Pas and Justin Paul.
This musical treatment of murder, celebrity, adultery, shady lawyers, starry-eyed singers and all things jazz won Best Picture.
A pop singer is receiving threatening messages, which has prompted her to hire a personal manager. He was a former secret agent and the security is tighter than the singer expected which makes the singer angry all the time. She soon realizes the fatality of the situation and accepts his behavior slowly rekindling their relationship. A pianist with stage fright endures a performance under the watchful eye of a mysterious sniper, who will shoot and kill him if he misses a beat.
Tom Selznick was a fledgling concert pianist until he got stage fright while trying to play a complicated piece, “La Cinquette.” Five years later, he plans to appear in Chicago for a comeback show, dedicated to the memory of his mentor, the late pianist and composer Patrick Godureaux (who composed “La Cinquette”). Godureaux received a lot of posthumous media attention due to the disappearance of his large fortune. Tom’s return to the stage is driven by the encouragement of his actress-singer wife.
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When Tom arrives at the theatre, his friend Norman (the night manager) assures Tom that he will do well. Soon after, a doorman gives Tom a packet of sheet music. Inside, he finds the manuscript of “La Cinquette” and throws it away. During the concert, Tom finds a note written on his sheet music, “Play one wrong note and you die.” Believing it to be a joke, he senses it, only to find more notes threatening Emma, parts with the future. Sadly, Tom leaves the stage, surprising the audience. She returns to her dressing room, where she receives a text asking her to find and wear an earring, allowing her to communicate with the killer Clem. When Tom returns to the stage, Clem reveals the shield and the package
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