Neruda

Neruda

2016 "A renowned poet. An unknown inspector. A legendary manhunt."
Neruda
Neruda

Neruda

6.8 | 1h48m | R | en | Drama

It’s 1948 and the Cold War has arrived in Chile. In the Congress, prominent Communist Senator and popular poet Pablo Neruda accuses the government of betraying the Party and is stripped of his parliamentary immunity by President González Videla. The Chief of Investigative Police instructs inspector Óscar Peluchonneau to arrest the poet. Neruda tries to escape from the country with his wife, the painter Delia del Carril, but they are forced to go underground.

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6.8 | 1h48m | R | en | Drama | More Info
Released: December. 16,2016 | Released Producted By: Participant , Telefe Country: United States of America Budget: 0 Revenue: 0 Official Website: https://www.facebook.com/nerudafilm
Synopsis

It’s 1948 and the Cold War has arrived in Chile. In the Congress, prominent Communist Senator and popular poet Pablo Neruda accuses the government of betraying the Party and is stripped of his parliamentary immunity by President González Videla. The Chief of Investigative Police instructs inspector Óscar Peluchonneau to arrest the poet. Neruda tries to escape from the country with his wife, the painter Delia del Carril, but they are forced to go underground.

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Cast

Gael García Bernal , Luis Gnecco , Mercedes Morán

Director

Pamela Chamorro

Producted By

Participant , Telefe

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Reviews

masonfisk Naruda is a segment of the great poet's life when he was accused of communism by the government & needed to flee. In pursuit of him, a loyal officer of the law tracks his prey, in what amounts to a person living vicariously through another's, we're meant to glean insight into the man's thoughts & why he's at odds w/the ruling class. Ultimately as presented we have 2 modes of film in conflict w/each other. Whereby the biopic is sorely lacking since we only focus on a glimpse of his life & the procedural, the hunter who tries to imprint his quarry's worldview onto himself to better acquire his target. Handsomely produced & the second film from Pablo Larrain during the same year (!) as Jackie, this uneven film does have some merit.
lasttimeisaw Pablo Larraín's biopic about Chilean Nobel-winning poet, diplomat and politician Pablo Neruda (1904-1973) (Gnecco), revolves around his at-large cat-and-mouse game with a relentless but allegedly made-up police officer Oscar Peluchonneau (Bernal) closely tailing him during the persecution of Communists issued by the Janus-faced President Gabriel González Videla (Castro) in 1948. Right out of the box, Larraín archly lays bare his derogative slant toward Videla's government by showing a then-Senator Neruda wrangle with others in the Parliament's resplendent bathroom, before lends him a rodomontading stage of poem recitation during a private gathering, and later doesn't hold back in sending him into a brothel for debauchery, further on, venting barbs to his loyal helpmate Delia del Carril (an age-defying Morán), whom he must leave behind in the third act when heading to the Andes mountains where he will secretly escape to Argentina on horseback. On balance, Larraín's view of Neruda is a solid composite of varying complexities, a larger-than-life character exuding a ghost of mystique, also on the strength of Luis Gnecco's fine performance.But essentially the film is a meta-fictional dyad of Neruda and Oscar, it is the latter's self-inspecting voice-over traverses the entire running time and whose inexorable pursuance is futile in foresight but, by virtue of Larraín's curve-ball construct of obfuscating the boundary between fiction and non-fiction, Oscar's quest of finding his identity (by the time of the third act, the predator-and-prey pursuit is saliently evolved into a poetic voyage), in fact strikes a more affecting chord with audience by being sublimated into a sort of existential mulling over an individual's congenital frailty: blindly overreaching oneself to compensate for (mostly self-induced) one's deficiency in self-esteem. Gael García Bernal effectively engineers Oscar's painful self-sacrifice with an almost pilgrim-like piety and gravitas. On the one hand, Larraín's innovative deconstruction-inflected modus operandi brings a wheeze of freshness in the time-worn biopic genre (so is his JACKIE 2016), but on the other hand, it is still an inchoate approach that overly relies on a director's artistic propensity, in this instance, the whole package of NERUDA's saturated, purple-bluish hue, starkly freewheeling camera movement, and a disconcerted accompanying score could not be every cinephile's cuppa, notwithstanding how stimulating it might sound on paper.
Argemaluco My knowledge about author Pablo Neruda was limited to a book of poems I read as a teenager. So, due to my little experience with his work, the film Neruda was a revelation from the beginning to the end, illustrating me about the "secret life" of the famous writer and his life as a political dissident. Despite that unexpected premise, screenwriter Guillermo Calderón conciliates Senator Neruda with artist Neruda, making the film begin as a political thriller which gradually becomes a dreamlike poem in order to satisfactorily conclude on a simultaneously magical and realistic ending. Calderón's best trick is changing the main character without fracturing the narrative; the first half is focused on the ideological evolution from Neruda, one of the few Senators who were against the influence the United States was making over the President of Chile; then, his political downfall comes, and the narrative focus switches to Óscar Peluchonneau, a relentless policeman who chases him, displaying his turbulent psychology and "daddy issues" which motivated his mission, as well as the strange connection he develops with his prey. That's a precarious balance which is very well handled by Calderón and director Pablo Larraín, supported by the excellent performances from Luis Gnecco and Gael García Bernal as Neruda and Peluchonneau (respectively). The quantity and variety of themes examined in Neruda defy the simple structure of any biopic; however, the result was satisfactorily complex and ambitious, without losing the didactic qualities of a good History lesson (whose fidelity regarding the true events I'm not interested in finding out). In conclusion, Neruda is a brilliant film, and a fascinating look into the hidden side of a man whose legacy transcends the poetry for which he's remembered. I just wish all the biopics to be as creative and intelligent as this one (yes, starting by the recent Jackie, also directed by Larraín).
dickmckinlay I agree with "jakob13" in his review of this fascinating movie. But I believe that it warrants more historical perspective, only hinted at in the movie. The influence of the US in enforcing its post-war anti- communist zeal throughout the Americas is mentioned, but not reinforced. The rise of Pinochet (also referenced in passing) is barely revealed. On balance, though, I'm not sure how much this matters, since the thrust of the movie is not historical recreation, but rather, the revelation of those aspects of character and consciousness that guide poet and public, hunter and hunted in extraordinarily threatening times.