04 junio 2013

Mervyn LeRoy - Little Caesar (1931)

Inglés | Subs: Castellano (muxed) + English/Français/Português/Castellano .srt
78 min | mkv-X264 640x480 | Bitrate total 759 kb/s | 48.0 KHz AAC | 23.97 fps
426 MB + 3% recuperación
Hampa dorada
Cesare “Rico” Bandello (Edward G. Robinson) y su socio Joe (Douglas Fairbanks Jr.) son dos atracadores de gasolineras de poca monta que deciden trasladarse a Chicago en busca de fortuna. Allí entrarán a formar parte de una banda de delincuentes en la que Rico ascenderá hasta convertirse en el principal criminal de la ciudad.

Mítica pellcula de gángsters cuya importancia radica básicamente en su carácter fundacional y en la interpretación icónica de su personaje principal.


Little Caesar es un reflejo elocuente de una época en la que se cuestionaba el papel del estado como garante del bienestar social, de un período de contradicciones ante la ruina económica en el que las fórmulas del individualismo más extremo pueden ser tanto causa del triunfo como del fracaso más absoluto. Esa paranoia es la que encarna el psicótico Rico Bandello de Edward G. Robinson, como también lo hacía el  Tony Camonte de la superior Scarface,  de Howard Hawks.


La película, que sigue la ya resobada estructura de ascenso y caída, adolece de un ritmo adecuado, defecto muy habitual en los primeros años del sonoro, lo que provoca que su desarrollo sea desigual, con secuencias muy lentas y otras que se resuelven con cierta precipitación.

Resulta evidente que no ha envejecido bien, pero es justo valorar su influencia en obras posteriores y más conseguidas. Además, siempre es un placer contemplar a Robinson fumando puros y apretando el gatillo con suma facilidad. (sinopsis y crítica tomada de Esculpiendo en el tiempo

 At the start of the picture, Caesar Enrico "Rico" Bandello (Edward G. Robinson, made up to look a lot like the real-life Al Capone) and his friend Joe Massara (Douglas Fairbanks Jr.) are robbing a gas station - later on, at a diner, they're looking over a newspaper and see a story about Diamond Pete Montana (Ralph Ince), a gangster so well known that he gets headlines and stories written about how powerful he is. That's what Rico wants, more than money or anything else: to be czar of the underworld and "not just another mug." Joe admits that sometimes he just thinks of trying to become what he wanted to be when he started out: a professional dancer. They head east to Chicago (which is never named, but with the talk of the north side and the territories, you know what city it is) and Rico talks his way into the local mob run by Sam Vettori (Stanley Fields). The leader has his doubts over how quick Rico is to go for his gun, but also thinks he might be useful if he is as fearless as he says and can be kept under control...


The first "talkie" gangster movie to capture the public's imagination, Mervyn LeRoy's Little Caesar started a cycle of crime-related movies that Warner Bros. rode across the ensuing decade and right into World War II with titles such as All Through the Night (1941). The violence in Little Caesar may seem tame by today's standards, but it was shocking at the time, and proved riveting and even seductive, especially because it was tied to a very charismatic performance by Robinson. Between his portrayal and the sounds of pistols and Thompson submachine guns, the movie was a sensory revelation and literalized the violence that had been suggested purely by visuals in such silent gangster classics as Josef Von Sternberg's Underworld (1927), itself yet another telling of a version of Capone's story. 

The language was also something newly coarse and bracing in movies, at a point when talkies were only a couple of years old. There's also a slightly homoerotic undertone to aspects of the character relationships that managed to get past the censors: Rico doesn't drink and seems uninterested in women; his fixation on Joe Massara, and his seeming competition for Massara's loyalty with the latter's fiancé, are couched in what seem like almost romantic terms; and his feeling of betrayal when Massara says he wants to leave the mob to get married seem almost more appropriate to someone caught in a romantic triangle. This is all made especially vivid when Rico laments not having killed Massara, admitting that he's been undone over "liking a guy too much." It's all nearly as striking as some of the more pointed psychological elements in subsequent gangster movies, including Tony Camonte's incestuous fixation on his own sister in Scarface (1932) and, at the far end of the cycle, Cody Jarrett's mother-fixation in White Heat (1949).

Le Petit César
À la fin des années 1920, en pleine crise économique, un petit caïd, Rico, lassé de braquer des stations essences de banlieue, décide de devenir le gangster d’une grande ville. Débutant au bas de l’échelle, on le suit gravir les différents échelons de la pègre locale, jusqu’à devenir numéro 2 de la ville. Mais, si proche de son rêve, il est obligé de fuir...


Rip del grupo mSD

Little.Caesar.part1.rar
http://www11.zippyshare.com/v/38423490/file.html

Little.Caesar.part2.rar
http://www22.zippyshare.com/v/810410/file.html
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Mervyn LeRoy en Arsenevich

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