Spoonixel Amateur movie with Big budget

SteinMo What a freaking movie. So many twists and turns. Absolutely intense from start to finish.

InformationRap This is one of the few movies I've ever seen where the whole audience broke into spontaneous, loud applause a third of the way in.

Ortiz Excellent and certainly provocative... If nothing else, the film is a real conversation starter.

Kirpianuscus It is the film of Anna Magnani. and that is far to be a surprise. because it represents not only charming reconstruction of Commedia dell' Arte but the chance to admire a precise way to build the seduction of a woman discovering herself. it is a Jean Renoir film and his mark is obvious in each scene. it is the film of a great show and bitter commedy. but , if you see it with more profound interest, you have the chance to discover a profound exploration of art, society and significant things. and that transforms it in one of usefull films escaping from the circle of specific genre. because, in essence it is a wise parable about the clash between life and art.

Stephen Alfieri "The Golden Coach" was an interesting project for Jean Renoir. According to his own biography, this film interested him on more of a design level, than on a story-telling level. He was much more interested in the "look" of the costumes, scenery, wigs and make-up. There have even been stories about how he would have sets built, then when the actors showed up in costume, he would order that the sets were the wrong colors, and needed to be re-painted. And from a technical point of view, the film is a feast for the eyes, and therefore a success.The cast, especially Anna Magnani as Camilla, is excellent. They play the characters in a commedia dell'arte style production. Since the characters and the actors who portray them are all a little loud and full of energy, I found the "play within a play" structure to be appropriately maddening. I'm not sure what Renoir intended, but I thought that the story, while contrived, was interesting.7 out of 10

Michael Neumann Jean Renoir's colorful English language comedy is not the masterpiece prevailing critical opinion would have you believe ("riotously textural!" raved the Village Voice), but it is a pleasant and entertaining novelty. A spirited Anna Magnani leads a troupe of Italian actors to a Spanish colony in 18th century Peru, where the appreciative Viceroy rewards her talent (and beauty) with the gift of a golden coach, setting off a small political and romantic scandal. It plays for the most part not unlike a literate stage farce, and Renoir emphasizes the theatricality of the story by directing (and shooting) it like theatre, with deliberate, flat compositions and distracting color costumes; the action even begins on a legitimate stage, the walls of which 'disappear' as soon as Renoir's camera dollies into it. The (at the time) newly struck 1992 print, presented by Martin Scorsese, shows obvious evidence of restoration only in the curious epilogue, which brings the story back to its original stage setting, and appears to have been poorly reconstructed on video.

rserrano For the first 102 minutes, I saw this film much as MATTHEWSCOTT8: a pleasant movie that was charming and colorful, but otherwise ordinary. The final minute, however, is transcendent and elevates the entire work to something else. (The only other example of this I can think of is John Huston's "The Dead" where the final voice over forces you to reevaluate everything that have come before in a new light).Here is one interpretation of the the events of the last minute and their meaning:A player steps to the edge of the stage, beyond the curtain. He reveals the cosmological structure of this play within a play within a film. The first play is the "real world" where ordinary events occur and characters interact. Most pursue some narrow selfish objective, but on rare occasions one overcomes their greed and achieves a degree of liberation and fulfillment (in this case Camilla).The second play is the stage on which the our narrator stands; a kind of Bardo between the fist play and our audience. The audience is a sea of human souls - all those who have passed away as their personal play has ended.The narrator tells us that Camilla is missing. In the background we see her pale ghostly image as she bids farewell to remaining cast members.The narrator then gives us his philosophy of life, "Don't waste your time on the so called real life. You belong to us"..." the only way to find happiness is on any stage"... "during those two little hours when you become another person; your true self." Thus, even a fairly standard story offers the potential to transcend our plight and experience something eternal. Renoir is describing the essence of pure eastern mysticism, here in a deeply western European context."Filipe, Ramon and the Viscount have disappeared. Gone." says Camilla, "Don't they exist anymore?"."Now they are part of the audience. Do you miss them ?" asks our narrator.Overall, this ending is so quick and unexpected that is feels like a rabbit punch to awaken the spirit. We are left, like Camilla, to contemplate the play, the nature of all plays and our own existence.