- Formato: DVD
- Audio: Desconocido (Dolby Digital 2.0), Inglés
- Subtítulos: Español
- Región: Región 2 (Más información sobre Formatos de DVD.)
- Número de discos: 1
- Calificación española (ICAA): No facilitado. No se nos ha facilitado la calificación española por edades (ICAA), pero puedes consultarla en la página oficial del ICAA. Más información sobre las diferentes calificaciones por edad.
- Estudio: Vertice Cine S.L.U.
- Duración: 87.00 minutos
- Valoración media de los clientes: 3.0 de un máximo de 5 estrellas Ver todas las opiniones (2 opiniones de clientes)
- ASIN: B007JPJM5I
- Clasificación en los más vendidos de Amazon: nº72.581 en Películas y TV (Ver el Top 100 en Películas y TV)
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Descripción del producto
Durante los años 30, un joven homosexual y un joven marxista con ideas revolucionarias entablarán una fuerte amistad en un colegio británico de clase alta. Años más tarde serán espías de la Unión Soviética y para llevar a cabo las misiones usarán como tapadera su condición de funcionarios del Gobierno Británico. Imagen: Color - PAL - Widescreen 1.85:1 - 16:9. Audio: (Dolby Digital 2.0 Stereo), Español, Inglés Subtitulos: Español.
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This is an interesting film for British audiences because it exposes an unspoken element to the class struggle by looking inside the upper class and seeing division as opposed to monolith and uniformity. It is interesting for American audiences because it exposes a different world from the ones most Americans understand readily, but one not so far removed in terms of influence both politically and culturally. Most interesting is the interplay of the cultural elements, sometimes explicitly critiqued by the character Tommy (who doesn't quite do the Shakespearean aside to the audience, but whose commentary is obviously tailored more for the viewing audience than for the other characters at times); most of the time, however, the cultural elements are assumed and understood as natural by the characters, causing viewers outside the British upper class (and some of those in it) to ponder just what is going on with all of these.
One of the interesting things of the piece is that it is a questioning film, questioning the way society brings up its young, with the questioning being done by the young. However, for young people the ending is unsettling - Guy Bennett is in a small Moscow flat, having defected to the Soviet Union with intelligence secrets, effectively betraying his culture and nation; we discover that Tommy died in the Spanish Civil War fighting against Franco, and many of the other high-flyers in school end up as lack-luster and disappointing figures (even the one who makes it being a Cabinet minister somehow lacks the image of success - when one is trained from birth to take the highest office, is it really much of an achievement to attain it?).
It is a rather slow-moving film in terms of camera shots, and a rather conservative film in terms of cast and action (there are no car chases, no bloody violence, no sex other than hints and suggestions, etc.). It is one that has never made much of an impact on American audiences, and the British audiences who enjoyed the film were predominantly an older crowd.
The issues of metaphor, iconic imagery and modern society's method of making sense of imagery abound here. In particular, there is Baudrillard's idea of simulation - in a sense, the film Another Country is a simulation of a simulation: the film itself is a simulation of a sort, and the characters and school environment depicted are also a simulation of certain relationships and aspects that the world should, in the eyes of the community at large, take on even if it never really achieves the fullness (and indeed, would be unlikely to like the results if it should). This taps into the concept of hegemony drawn from critical analysis thinkers such as Gramsci and Williams.
The world in the film Another Country no longer exists. Of course, the world in Another Country never really existed, but was a cultural construct for the particular class. God rarely entered into the matter, apart from standard prayers at meal-times, awkward impromptu Bible study when something `immoral' had happened, and at times of personal or national crisis.
Stylish, well-acted, interesting in scope, this is an under-appreciated gem. Comparison has been made, rightly so, to the lavish Merchant-Ivory productions of E.M. Forster novels around the same time.
This story is loosely based on the real life of a British aristocrat turned spy for Russia. Instead of detailing the main character's (Guy Bennett)adult transformation from British upper class citizen to traitor, we are treated to a more subtle story of what led the young Bennett to become disenfranchised with his British high class status and how his formative years at the prestigious Eton College, laid the foundation for his ultimate treachery.
The story is told by an elderly Guy Bennet in his Russian flat as he is speaking to a British reporter about his decision to turn against his native England and become a spy for Russia. He explains to the reporter that in order to understand his decision, one must understand the constrained up-bringing of upper class British youth, which he then goes on to recount.
The film is set against the beautiful backdrop of Eton College, the school where not only the british upper class sends their sons, but also the British royals. The cinematography is outstanding, as is the musical score- both are dark and brooding but capture both the beauty and tradition of 1930's England.
The tension in the movie is between Guy's need to be honest about his sexuality while also fitting in with the ultra-conformist status quo represented by the school's elite ruling class boys, the 'Gods'. Guy Bennet yearns to be part of the school's elite group, all the while bucking the traditional structure by mocking the rules, maintaining a friendship with his Marxist roommate and taking part in an illicit love affair with another boy.
As we watch 16 year-old Guy Bennett struggle with his sexuality and his desire to be part of a class and social structure that ultimately rejects him, it is notable that there is a sort of "Lord of the Flies" aspect to the film- there are no adults (save in the first scene when a Master (professor) walks in on two boys engaging in an intimate act) but instead, the school appears to be run in a strict and hierarchical manner by the school children themselves. The group, the "Gods", represent the schools authoritarian and traditional elements and are responsible for punishing those that question authority or violate the school rules in any way. The prestige of 'the Gods' is symbolized by their unique waistcoats, which only they can wear. In all other respects, all of the students at the school are required to dress the same and for all intents and purposes, act the same.
Despite his non-conforming ways, Guy Bennett longs to be part of this ruling elite, saying "just wait, my waistcoats are going to be the most *different* you've ever seen" with his Marxist friend Judd, questioning why he would even want to be part of such a self-serving elitist group anyway. Guy doesn't answer the question, but as his character develops, it is clear that Guy is in love with the superficial trappings of success and privilege. In fact, in many ways, Guy Bennett is a difficult character to like but his brains, sense of humor and emotional attachment to his friend Judd and his lover Harcourt, seem to redeem him.
Though it is tempting to write off this film as a touching, and at times disturbing, look at a long gone era, the themes present in the movie are still relevant today. There is still a tension between those who conform and those who don't. Class status continues to play an important role in who and what we become and the experiences of our childhood often shape us in ways we don't realize until much later in our lives. While we may think that groups such as 'The Gods' no longer exist, think of the two Presidential candidates in the 2004 US election- both were men of money and privilege who were schooled at prestigious prep schools and went on to join the elite, secretive society 'Skull and Bones'. Is that so different from Guy Bennett's 1930's world where the sons of wealth vied for positions in the schools most elite group, 'the Gods' (minus the waistcoats and top hats), only to later become the ruling elite in British government and society? That perhaps is debatable, but it is difficult to watch the film and see the underlying symbolism, themes and struggles as remnants of a by-gone era.
I would highly recommend this DVD to anyone interested in good story-telling, beautiful cinematography and British political history.