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The Green Mile por Tom Hanks
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The Green Mile (original 1999; edição 2008)

por Tom Hanks (Actor)

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484538,545 (4.29)6
Death Row guards at a penitentiary, in the 1930's, have a moral dilemma with their job when they discover one of their prisoners, a convicted murderer, has a special gift.
Título:The Green Mile
Autores:Tom Hanks (Actor)
Colecções:A sua biblioteca

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The Green Mile [1999 film] por Frank Darabont (Director/Screenwriter) (1999)

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The Green Mile (1999)

Tom Hanks – Paul Edgecomb

David Morse – Brutus ‘Brutal’ Howell
Michael Clarke Duncan – John Coffey
Bonnie Hunt – Jan Edgecomb
James Cromwell – Warden Hal Moores
Michael Jeter – Eduard Delacroix
Graham Greene – Arlen Bitterbuck
Doug Hutchinson – Percy Wetmore
Sam Rockwell – ‘Wild Bill’ Wharton
Barry Pepper – Dean Stanton
Jeffrey DeMunn – Harry Terwilliger
Patricia Clarkson – Melinda Moores
Harry Dean Stanton – Toot-Toot
Dabbs Greer – Old Paul Edgecomb

Screenplay by Frank Darabont, based on Stephen King’s novel (1996)
Directed by Frank Darabont

Warner Home Video Germany, 2006. Two-Disc Premium Edition. Colour. 188 min. 1.77:1 picture. Dolby digital sound. Bonus: audio commentary by Frank Darabont, deleted scenes, Making-Of documentary.


Let me first answer that hackneyed question. Yes, it is better than the book. It sticks very close to it, closer than Shawshank. There are no significant additions and very few cuts. The story and the characters are preserved with the greatest possible fidelity.

Frank Darabont is a better storyteller than Stephen King. He is a master of compression. Everything essential is kept intact, everything inessential is ruthlessly cut. For instance, he retains the frame narrative of the old Edgecomb, but he uses it only in the beginning and the end, not even as a voiceover otherwise. Stephen King makes the foolish mistake, unexpected in a writer of his talent and experience, to inflict it several times on his readers, with some annoying repetitions and pacing errors. Darabont’s pace is also slow, but steady. He is the only director, except for Coppola, who has made me feel three hours like one.

The few bits of dialogue in the movie not lifted from the book improve on it. For example, when Percy Wetmore does wet his pants, he is not told “What goes on here stays here” but “What happens on the Mile stays on the Mile. Always has.” A minor detail, but still an improvement. Brutal’s “spare mouse” is another small but charming original touch. But for the most part Darabont was content “merely” to abridge the dialogue from the book. This is done so well that the novel seems verbose and long-winded in comparison. To give but one example, when Delacroix walks the Green Mile his French prayer is completely omitted, and so is the priest.

The cast, led by Tom Hanks in yet another brilliant lead performance (e.g. Philadelphia, Forrest Gump, Apollo 13, Cast Away), is perfect to the last cameo. As always (including the book), the bad guys are more interesting than the good guys. Percy Wetmore and Wild Bill are memorable sadists on paper. Sam Rockwell and Doug Hutchinson make them unforgettable on the screen. I’d never heard of Hutchinson before, and I’ve never heard of him since, but his performance here is flawless. Michael Clarke Duncan and Michael Jeter, both of them dead now, are superb as the two most notable victims of “Old Sparky”. The late great Harry Dean Stanton, for whom no part was too small to make something great out of it, is hilarious as the execution dummy who just can’t shut up. The “rehearsal” is one of the many welcome bits of humour (courtesy of the book), and Harry steals the show completely, his “last words” on the chair ending with “and I got to have Mae West sit on my face, because I am one horny motherfucker!”

In his introduction to the first complete edition of the novel, Stephen King remarks that “what I wanted was not reality but myth”. He achieved both, and Frank Darabont preserved both in his film. The execution of Delacroix, for instance, is starkly realistic and a terrifying thing to watch. Not for the fainthearted. Most scenes with John Coffey and Mr Jingles, on the other hand, have an otherworldly feeling. They remind you this is a modern-day miracle story. In other words, it is a search for the miraculous in us. It is there all right, but it goes hand in hand with our infernal side, sometimes in different persons in the same predicament, sometimes even in the same person. We just have to do the best we can about that. ( )
  Waldstein | Apr 13, 2018 |
Ambientada en el sur de los Estados Unidos, en plena Depresión. Paul Edgecomb es un funcionario de prisiones encargado de vigilar la "Milla Verde", un pasillo que separa las celdas de los reclusos condenados a la silla eléctrica. John Coffey, un gigantesco hombre negro acusado de asesinar brutalmente a dos hermanas de nueve años, está esperando su inminente ejecución. Tras una personalidad ingenua e infantil, Coffey esconde un prodigioso don sobrenatural.
  bibliest | Apr 12, 2018 |
A condemned, "simple-minded" giant has magical wizard powers.

For about an hour it seems like it's a reasonably good period prison movie - a little slow and cliched, but generally well made and with a great cast. Then Stephen King says, "Drama is hard. F*** it, I'm just gonna give one of these characters some magical wizard powers. That'd be cool, right?" No, no not really. ( )
  comfypants | Feb 16, 2016 |
"The book was better" has been the complaint of many a reader since the invention of movies. Frank Darabont's second adaptation of a Stephen King prison drama (The Shawshank Redemption was the first) is a very faithful adaptation of King's serial novel. In the middle of the Depression, Paul Edgecomb (Tom Hanks) runs death row at Cold Mountain Penitentiary. Into this dreary world walks a mammoth prisoner, John Coffey (Michael Duncan) who, very slowly, reveals a special gift that will change the men working and dying (in the electric chair, masterfully and grippingly staged) on the mile . As with King's book, Darabont takes plenty of time to show us Edgecomb's world before delving into John Coffey's mystery. With Darabont's superior storytelling abilities, his touch for perfect casting, and a leisurely 188-minute running time, his movie brings to life nearly every character and scene from the novel. Darabont even improves the novel's two endings, creating a more emotionally satisfying experience. The running time may try patience, but those who want a story, as opposed to quick-fix entertainment, will be rewarded by this finely tailored tale. --Doug Thomas
Esta crítica foi assinalada por vários utilizadores como um abuso dos termos do serviço. Por isso, não é mostrada (mostrar).
  schotpot | May 13, 2007 |
owner: Steve
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Nome do autorPapelTipo de autorObra?Estado
Darabont, FrankDirector/Screenwriterautor principaltodas as ediçõesconfirmado
Cromwell, JamesActorautor secundáriotodas as ediçõesconfirmado
DeMunn, JeffreyActorautor secundáriotodas as ediçõesconfirmado
Duncan, Michael ClarkeActorautor secundáriotodas as ediçõesconfirmado
Hanks, TomActorautor secundáriotodas as ediçõesconfirmado
Hunt, BonnieActorautor secundáriotodas as ediçõesconfirmado
Hutchison, DougActorautor secundáriotodas as ediçõesconfirmado
Jeter, MichaelActorautor secundáriotodas as ediçõesconfirmado
Morse, DavidActorautor secundáriotodas as ediçõesconfirmado
Newman, ThomasCompositorautor secundáriotodas as ediçõesconfirmado
Pepper, BarryActorautor secundáriotodas as ediçõesconfirmado
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Death Row guards at a penitentiary, in the 1930's, have a moral dilemma with their job when they discover one of their prisoners, a convicted murderer, has a special gift.

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