Cradle Will Rock(in Hollywood Movies) Cradle Will Rock (1999) - Download Movie for mobile in best quality 3gp and mp4 format. Also stream Cradle Will Rock on your mobile, tablets and ipads
Plot: In 1930s New York Orson Welles tries to stage a musical on a steel strike under the Federal Theater Program despite pressure from an establishment fearful of industrial unrest and red activity. Meanwhile Nelson Rockefeller gets the foyer of his company headquarters decorated and an Italian countess… Runtime: 132 min Release Date: 21 Jan 1999
Tim Robbins has created a masterpiece. A film that stands up in the face of adversity and squashed freedom.Robbin's telling of the legendary events surrounding the Orson Welles production of Marc Blitztien's Labor Opers, THE CRADLE WILL ROCK, not only puts forth the events but he masterfully presents his film in the style of a Brecht theatre piece. The emotional level in the theatre when I saw this film was high,Applause rang out during the films climax. But this film is not only about artistic freedom, it is about freedom as a whole,about standing up for your freedom of belief and <more>
expression,could you imagine that there was actually a time in this "free" nation of ours when armed guards actually locked the doors of a theatre ,trying to prevent a show from being mounted.This film is an important one,and what Robbins accomplishes is to present it as entertainment as well,this is not a history lesson but a well executed work of art. As perfomances go everyone was splendid. Hank Azaria wins best honors as Blitztien,Cary Elwes and Angus McFadden as Houseman and Welles are also brilliant in their stellar portrayals.Vanessa Redgrave,Susan Sarandon and Bill Murray also lend their imense talents. John Turrturo deserves special mention for his touching portrait of actor Howard DaSilva. Some critics have pointed out what they felt was a lack of character development in the film. These critics have greatly missed the point. the film is presented as a Brecht or Blitztein style play. Blitztein's CRADLE included characters named for their role in society,or personality, Jimmy Forman,Mister Mister,Reverend Salvation etc. it is this type of acting Robbins successfully evokes from his actors. This film is more than a movie,it is an emotional experience that will change the way you look at society.It is an inspiration,telling us to fight for what you believe in.
Artsy, elegant manifesto with fascinating sub-plots and details. (by Silverzero)
Based on the events that occurred in post Depression era New York in 1936, `The Cradle Will Rock' is a spectacular extravaganza of people, places, and most of all, cultures. Truly an exemplary take on the battle of radicals and corporates, art and politics when they could be united in a common bond. Thus, it is only suiting that such a film be directed by uber-liberalist Tim Robbins. This picture simply wouldn't have worked without him. From an overhead point of view, this is the cinematic equivalent of a protest- a real bite on shady politics. But in actuality it is something far <more>
deeper, focusing on numerous interesting sub-plots and taking in everyone's point of view. The backdrop is the closing down of a theatrical play when it is accused of being communist. Throughout the 135 minutes, we take in all of the different `isms'- fascism, capitalism, communism, Nazism, Catholicism and Judaism. Not only does this require a passing knowledge on these people and events; one must have an interest in the proceedings to get the most out of it.One reason why there have been some negative reviews is because people are confused as to why Diego Riviera, Margherreta Sarfatti etc. are in the story. I can explain. Rather like `Magnolia which followed on totally dissimilar outlines , you have to read the sub-text. This is a movie about passion for art and music. Marc Blitzein, Hazel Huffman and Diego Riviera and all connected had a deep passion for their work that the authorities would soon destroy because of rules and regulations.Interesting is the fact that all the characters are based on true life people, and Robbins has assembled a fine cast who give noteworthy performances all across the board. One of the hardest to portray has to be Orson Welles. It's a true fact that 21-year-olds from the 1930's look much older than those from the 90's. No one wanted to see James Van Der Beek/ Casper Van Dien in the role. Thus, Angus MacFadyen was a superb choice, portraying Welles as an egotistical, self-centred man. Equally impressive is Susan Sarandon with an impeccable exotic accent as a Jewish Fascist art dealer. She knows exactly what she's doing and highlights some of the best scenes. Other standouts include John Cusack's aristocratic Nelson Rockafeller and Cary Elwes' interpretation of flamboyant producer/ soon-to-be Oscar winner `The Paper Chase'- 1973 John Houseman. If there were a flaw, it would have to be the last 15-20 minutes. What, for the most part, is an illustrious, brilliant character study later dissipates into a shiny-smiley low glitz `Singin In the Rain' effort. Such a shame, because the film was doing so tremendously up until that point. Then of course, it is 135 minutes long so much of that final sequence could and should have been excised.Nevertheless, if you can forgive that, you have a remarkable, audacious film on hand. `The Cradle Will Rock' truly is an overseen landmark in ensembles, biopics and interweaving. By far Robbins best movie yet, the sub-plots are equally impressive from Blitzstein's paranoid delusions to Constance La Grange's over-the-top characteristics. If you are in any way interested in fascism, communism etc. then don't miss this polished, spirited picture. My IMDb rating: 7.6/10.
Tim and Susan have been on the forefront of our political and artistic landscape for many years, regardless of the personal or artistic costs. They are Hollywood players, and as such, I do not always stand and cheer when I see one of their films. It's taken some time for me to recognize their excellent aspirations. Not to say I haven't embraced their intentions in a general way. With this film, "Cradle Will Rock," however, I embrace them unconditionally.I have deep theatrical roots, and was simply enchanted by the frame of this story inside Roosevelt's WPA theatre <more>
project of the early '30s. As deeply embedded in the theatre as I am, I had no idea, I blush to admit, that I owed so much to the extraordinary legacy of the artists and managers from that era. So, for this alone, I am grateful to the filmmakers.Within my personal history in the theatre, I have long struggled with the zeal in needing to produce "theatre in defense of civil and human liberties," and reconciling that with the ongoing pressures of making a buck. Not that I insist all artistic need be "liberty" oriented. But I am uneasy in choosing a work to produce or to witness, if I cannot find a pillar of social justice within it. The earth is far too fragile, and the threats to her and her inhabitants are far too imminent, to waste time otherwise.Back to the film: Not only was I unaware of the WPA theatre project, I was unaware there was a McCarthy-Era-like-witch hunt to dismember the artists and producers and administrators. I kept thinking as I watched the Senate interrogations, "Is that Senator McCarthy? That can't be--that doesn't happen for 30 years!" The parallel is unmistakable uncanny , and one can't help but ponder its legacy: The McCarthy Era; Senator Jesse Helms' vicious, relentless attacks on public funded arts, media and humanities; the Bush Doctrine, and so on. And as I watched, there was this small voice telling me what we all know: "Those who don't learn from history are doomed to repeat it." I was shocked to learn that this hideous bureaucracy has been using every weapon at hand to demolish the arts in the US for at least 80 years. For this revelation alone, I honor these filmmakers.The history and political science are presented excellently here, and might be subjects for good documentaries. Believe it or not, I do like entertainment, and it's likely I would've missed the lessons had they been presented as documentaries. Instead, Tim has written one of the most compelling screenplays with very diverse human stories interwoven in what must've been a pitch to studio execs that was unwieldy and impossible to track. Not so in the execution. I write screenplays, and I am many times undone by the weight of my convictions. Not so with "Cradle." The writing here is superb.To climax with a performance of the musical "Cradle Will Rock" booked in a vaudeville house in a last ditch effort after the Feds close down the original venue is divinely inspired. The "show-must-go-on" mentality produced with a pianist and piano on an empty stage, before a standing room only crowd of recently fired performers and technicians, their families, friends, and supporters is just bloody brilliant. When the performers stand up in the house to join the performance--Equity Union rules they cannot step on stage--when these performers step into their roles, rising up from the audience itself, and in spite of very real threats of being black balled--the effect is sublime. It's as though the observers become the observed--that alchemical magic every sincere performer strives to achieve. To accomplish this on film is rare. Sure, you often identify with a character in a film, but you often do it in a kind of hypnotic escapist state. This film achieves something more particular, more active in the way of audience/performer union."Cradle Will Rock" is one of the best film arts arguments for democracy. It is a gift to all of us. Let us honor and treasure the filmmakers.
Tim Robbins is a good actor. Not great, but it is clear in his acting that he has a passion for the theater. Now he has written and directed something that elevates him to world class.The simple first: Tim has learned from Altman how to make a camera move in such a way that the viewer becomes part of the action. Some of his long, multithreaded action shots are breathtaking. More, this is used to tie together dual threads and multiple stories. Altman again, but even Altman is inconsistent in this.But Tim can do something Altman cannot. He tunes this ensemble so tightly it seems that they are <more>
siblings. Many individual performances deeply charm, reach high.That alone makes this a must see. But there's more. This is yet another play about a play, a common enough genre that has a very specific set of pitfalls. Robbins the writer cleverly avoids this with a facile trick. Uncareful viewers will see this as a simple, left-leaning story about artistic McCarthyism Jesse Helms anyone? . But that is a ruse. The story is just the excuse.Watch it again and look for why the play couldn't be put on. It was the unions, as much coopted by the system as Rockefeller that was the real threat and who the players defy at the end. This ahistorical fact was inserted for a reason. Also watch for how the whole thing is nested in Faust, with a deeper recursive level with the players as the puppets in Faust. The puppet thing is worked a few other ways with Murray of course, but also so many others until we feel that the only non-puppets are the actors.I think this is one of those cases where Robbins exceeded his own intellect, but it still works as a deeply recursive self examination, even of itself, because he trusted his instincts as dramatist and presumably the actors' instincts as well .I rate this high for intelligence. It achieves what Altman has not. Some seem to object that some of the characters are silly: Wells and Houseman and the Countess. But this is deliberate. They are playing players IN A PLAY. That's the point. Perhaps it would have been better to not use historical names since it confuses people who might look for accuracy.Some misgivings though. Sarandon's performance was the weakest. Cinematically, the crushing of the mural during the performance was blunt editing. The pacing was off -- it should have been better integrated with the pacing of the play's action. The transposition of the dummy to modern Broadway was radically less subtle than the dummy theme's life in the rest of the play. If you didn't tease it out early, you'd be confused.
This is a classically written piece about the corruptability and compromises of politicians, businessmen and yes even artists. Tim Robbins is quickly becoming one of my favorite writers. I'll admit I had a hard time trying not to misinterpret the dialog, but at least the movie made me think. I also commend Robbins for tackling the hypocrisy involved in being an artist. It's slow, but give it a chance. By the end of this movie the levels and themes he's hitting on tie together very, very well.
Fantastic historical document performed by a great ensemble cast (by mrtimlarabee)
Cradle Will Rock is a big movie. Not big in terms of blockbuster big, but big in terms of the stories and history portrayed in the film. Robbins has the undertaking of telling several stories tying them all together with the accusation of the chief characters' participation in anti-American activities. Organizing unions and communism are at the center of the conflict portrayed in this film, set in depression-era New York. Chief among the stories are pro-Union play Cradle Will Rock, the Diego Rivera painting Lenin in Rockefeller Center, and accusations of communism being represented in <more>
plays funded by the Federal Government.Robbins brings to life the attitudes of the day through the eyes of several fictional and non fictional participants in these events. Toturro and Watson portray actors in the eponymous play, who risk not being able to work in theater again if they act in the play, shut down by the federal government. Bill Murray in a great, but ignored performance and Joan Cusack work for the federal theater, and are vocal about there thoughts about communism. Stealing the show, however, are Cherry Jones, as Hallie Flannagan, brilliantly testifying her case before the government denying being a communist, and Hank Azaria, who subtly plays out the role of Cradle Will Rock's writer Marc Blitzstein with great passion.There are some liberties with the history. These events occurred at different times, but Robbins has them occur at the same time, to illustrate their historical significance and similarities. And while the event regarding the much fabled first performance of Cradle Will Rock is heavily dramatized, it's beautifully played out.Of course, Robbins has his hands in politics and this film is an example of that, but, politics aside, this is a brilliantly acted piece illustrating events in history long forgotten. One of the highlights of this film is the music from Cradle Will Rock, which before viewing this film, I wasn't familiar with. As one watches the film, they will realize that the play has some Brecht/Weil Threepenny Opera influences. This film is so passionate about its material, that encourages one to dig deeper, and read more about the play and its creator and the history presented here.
This may suffer from having a few too many plot lines and characters Emily Watson, for example, is a role too far , but most of what's there is excellent. Bill Murray is as good as he has been recently in Rushmore and Lost in Translation, and the Cusacks are at their best. This is a film that lingers with you after you've seen it, and gives a fascinating insight into a turbulent time.
CRADLE WILL ROCK DIDIER BECU (by Didier-Becu)
Before Orson Welles made movies he was a director in theatres and this is the story of the musical he directed 'Cradle will rock' in the 30's. There's a big crisis, a big unemployment and the rise of Mussolini and Hitler are felt and of course there is the beginning of the McCarthism as everything that is art is the subject of investigation if there is any red message included. Robbins directs the silliness of it all, some musical for children about beavers is stamped as communist for example. Everything is under control but it doesn't withdrawn Welles to make a musical <more>
in where there is a link to communism and the unions. Robbins gives us lot of different stories that clash at the end and it's somewhere unbelievable that for such an intelligent but failed at advance movie he could have such a great cast, they all play perfect with Bill Murray performing the best thing I have ever seen from him you can't think that this man once did stupid stuff like the Ghostbusters . It's definitely not an easy movie and you have to love a lot political history to enjoy it completely but Robbins made a superb movie that perhaps drifts away a bit from reality but gives a perfect example from what ideology can do with art, destroying it.
Never thought I'd be interested in a socio-political musical drama!! Somehow Time Robbins managed to make his cause common, and his theme universal. This is the first Robbins-directed movie that I see, but it's VERY enough to prove that he's such a brilliant director! He manages to keep actors perfectly attached to their roles and characters. Seriously, I've never seen such vivid direction, as if each shot speaks for itself and the underlying thematic meaning. When I first read this movie's synopsis, I thought that I'd be completely detached! But somehow, after <more>
watching it, I realized that art is a universal call that matters each and every one of us.