Un film di spionaggio realistico e anti-James Bond, storicamente interessante ma un po' troppo didascalico
di David Denby The New Yorker
Treating espionage as a fantasy liberates action filmmaking, but a dramatization of how espionage actually works turns out to be a lot more interesting. In the mesmerizing French spy movie “Farewell,” which is based on a true story, the time is April, 1981, in a sunny but morose Moscow. Monolithic statues of scowling Soviet heroes loom over public squares and parks, a farcical reminder of old victories, old illusions. Groups of white-shirted children, perhaps the only citizens who still believe in the country’s greatness, march around bravely, singing patriotic songs. [...]
di David Denby, articolo completo (4711 caratteri spazi inclusi) su The New Yorker 2 agosto 2010
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