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🔴 Watch Tom Hanks And Matthew Rhys In A Beautiful Day In The Neighborhood (2019) Subtitle English France Italy

watch tom hanks and matthew rhys in a beautiful day in the neighborhood (2019) subtitle english france italy
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Uploaded by: hardinge
Date: 2020-03-01 00:50:15
Viewed: 135 times - 5 hour, 2 minute, 58 second ago

In 1998 the New York journalist Lloyd Vogel, married and with a newborn son, was commissioned by Esquire magazine to write an article about Fred Rogers, Protestant pastor and host of the famous children's television program, Mister Rogers' Neighborhood. An appreciated journalist but an adult depressed and in conflict with his father who abandoned him and his sister as children, Lloyd finds Rogers an unsettling interlocutor and in the long run a true friend. Peaceful and loving with both children and adults, Rogers is able with his kindness to heal Lloyd's wounds and to encourage him to improve the relationship with others. So Lloyd approaches his wife, begins to take care of his baby and finds time to reconcile with his father, now elderly and about to die.

An extraordinary friend is the story of a meeting: a training novel that arrives when it is not yet too late, in time to remind a disillusioned man that he too was a child.

Taken from the article "Can You Say ... Hero?" by Tom Junod, published on Esquire in 1998, An Extraordinary Friend is an unsettling film. Like the protagonist Fred Rogers, under his normalcy and his sweetness he seems to hide a gloomy, almost morbid soul, yet he reveals himself in reality for what he simply is: a sentimental drama, a tale of training, the story of a friendship .

The disruptive force of Mister Rogers, from which Marielle Heller's film (original copy, Diary of a teenager) derives its unexpected charm, lies in its disarming simplicity: he is not a hero, as Junod's article asked himself, and not even a saint (as his wife is ironically called), but a man and a sinner like everyone else. Above all, he is a communicator who takes literally the terms of an interpersonal relationship, resulting in this unpredictable: from the television set in which he stages his little shows he never goes down to the level of the small listeners, he speaks with a flat tone and simple words, he wears cardigan and tie to make evident the distance of age and experiences. Rogers behaves in the same way with adults: he accepts the idea of ​​exchange and in an interview he takes the opportunity to build a new friendship, despite the person he is facing is the opposite in terms of training, beliefs and character.

Rogers was 70 when Esquire's article came out, his broadcast had aired since 1968 and shortly thereafter, in 2003, he would die: he was in short a man of the past, almost an alien, and the film shows him in this "other" dimension, transporting the co-star Lloyd (played by Matthew Rhys) and the same spectator in his "Mister Rogers' Neighborhood", in the models of the transmission that reconstructed the ideal and miniature "neighborhood" of which Rogers was a resident and puppeteer .

By confusing the plans of perception between the set, Lloyd's life and a dimension suspended between real and dreamlike, Marielle Heller and her collaborators (Noah Harpster and Micah Fitzerman-Blue on the screenplay, Jade Healy on the scenography) build a fantastic and artisan universe similar to those of Gondry or Kaufman, an ideal stage in which the certainties of adult life crumble in front of the naturalness of a world of children made of the same art of Rogers, of puppets, puppets, songs and simple speeches.

In the intentional uncertainty of the representation lies therefore the intimate meaning of An Extraordinary Friend, the inevitable contrast, that is, between the complexity of life and the essentiality of a language brought back to its basic formulas and useful both for childhood and for children. 'adulthood. Rogers invites children to return to rediscover the naturalness of a greeting, a question, a request for help or forgiveness.

The destabilizing presence of this figure halfway between the educator and the invaded - also thanks to a sensational interpretation by Tom Hanks, poised between sweetness and fear - therefore does not lie in his goodness, in his faith or in his sinister pervasiveness with which enters the lives of others, but in the shocking ability to speak a purified and universal language, free from religious or educational constructions.

At the end of the millennium, at the dawn of the digital revolution and in the era of "hysterical realism" it is possible that Rogers' speech, art and figure had been overcome by time and fashions; today, however, beyond the character and his convictions, they sound like an anchor of salvation, a way of looking at life and dreams that recovers the honesty of children without ulterior motives.

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