The young but travelled Ana arrives in a manor in the countryside of Spain to work as nanny of three girls and finds a dysfunctional family: the matriarch is a sick old woman obsessed by ... See full summary »
Fernando Fernán Gómez,
José María Prada
An aging actress named Irina Arkidana pays summer visits to her brother Pjotr Nikolayevich Sorin and her son Konstantin on a country estate. On one occasion, she brings Trigorin, a ... See full summary »
A group of anarchist leftist called "Nada" and led by the terrorist Buenaventura Diaz abducts the American ambassador Richard Poindexter in a brothel in Paris and brings him to a farm in ... See full summary »
Beatrice celebrates with her family the release of her book: she tells about the accident of her husband Frederic. He became blind and without filter - always so funny and seductive, he is ... See full summary »
When a straight-laced British accountant marries a free-spirited American, he starts trying to change her. His wife doesn't keep regular hours, so he suspects an affair and hires a ... See full summary »
Tom Wolfe's book on the history of the U.S. Space program reads like a novel, and the film has that same fictional quality. It covers the breaking of the sound barrier by Chuck Yeager to the Mercury 7 astronauts, showing that no one had a clue how to run a space program or how to select people to be in it. Thrilling, funny, charming and electrifying all at once.Written by
John Vogel <email@example.com>
It is generally believed that Gus Grissom was not at-fault in the real-life hatch-blowing incident on the Liberty Bell 7 capsule. Kickback from the manual activation switch caused a tell-tale bruise to form on the hand activating it, and Grissom never developed the bruise. Wally Schirra, at the end of his Mercury 8 space flight, deliberately activated his own hatch to demonstrate how the bruise formed and exonerate his comrade. The most likely explanation for Grissom's hatch blowing is that the external release lanyard came loose as it was only held in place with a single screw - a design that was changed to be more secure for subsequent flights. N.A.S.A. apparently believed in Grissom's innocence as well, as he remained in a prime rotation spot for subsequent Gemini and Apollo flights. There is also significant belief among astronauts of the time that, had he not been killed in the Apollo 1 fire, Grissom would have been the first man to walk on the moon. See more »
Near the beginning of the movie (and at a later funeral in mid-1950s) the "Minister" (Royal Dano) sings the Air Force Hymn, however he uses the melody of the Navy Hymn. Although the hymns sound somewhat similar, they are indeed different. See more »
There was a demon that lived in the air. They said whoever challenged him would die. Their controls would freeze up, their planes would buffet wildly, and they would disintegrate. The demon lived at Mach 1 on the meter, seven hundred and fifty miles an hour, where the air could no longer move out of the way. He lived behind a barrier through which they said no man could ever pass. They called it the sound barrier.
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When the movie premiered on American TV in May 1986 on ABC TV, during Yeager's first X-1 flight, there are several radio transmissions from Ridley to Yeager which do not appear in other versions. For example, Yeager to Ridley: "Hey, Ridley, make a note here will you. Got nuthin' better to do. Elevator effectiveness regained." Ridley to Yeager [on radio, deleted]: Yessir, that's duly noted! While Yeager is taking in the spectacle after passing Mach-1, there is only music on the VHS, DVD, etc. On the ABC TV premiere, Ridley's voice is heard clearly on the radio saying, "Say, buddy, while you're up there put in a good word for me, will ya?" Finally, when Yeager performs the barrell roll in the X-1, he can be heard on the radio shouting "Woohoo!!" in the TV premiere. Again, this is not featured in any other version of the film. See more »
An incredibly under-rated director, Philip Kaufman adapted Tom Wolfe's best-selling tale of the Mercury astronauts in 1983 and, since that time, he has been unable to top himself (he came very very close with Unbearable... and Quills, but The Right Stuff is very much out of their league).
Why? The Right Stuff is a perfect blend of intelligence and wit and action. At just three hours long, it occasionally feels too short. The audience comes to know the characters through terrific performances by Ed Harris, Dennis Quaid, Sam Shepard, and Fred Willard and Kaufman's deft pen (which, no doubt, Wolfe's novel helped guide). We are sad when the story ends; we want more. It's rare that a movie creates such an inviting and intriguing world that, after three hours, we still do not want to leave.
This movie is absolutely one of a kind. Its critical patriotism shows that films can show their love of country without wandering into nationalistic or jingoistic propaganda. It is very rare that a film this indebted to America and American history can be so ambivalent.
That, in my mind, is a positive rather than a negative. The filmmaker and actors understand that the Space Race was not a simple process; they understand that heroes have a dark side.
They all refuse to let the heroism cover the unsavory aspects of a person's life and, simultaneously, they do not let those aspects darken their contribution to mankind.
The Right Stuff is really an amazing filmic experience. It's an expert adaptation, an expert recreation of the early US Space Program, and an expert entertainment. Apollo 13 wanted so very much to be the Right Stuff. It's not; nothing will ever beat the Right Stuff.
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