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A movie with Morricone's music
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engdvd-2004
Fat
Man and Little Boy/Shadow makers (1989)
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89-03-official
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Relative
music page
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IMDB(English）
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IMDB(Chinese）
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Note
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About
the movie from IMDB
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Overview
Director:Roland
Joffé
Writers
(WGA):Bruce Robinson (story)
Bruce Robinson (screenplay) ...
more
Release Date:20 October 1989 (USA) more
Genre:Drama / History more
Tagline:The story of the extraordinary people who changed
our world.
Plot Outline:This film reenacts the Manhattan Project, the
secret wartime project in New Mexico where the first atomic
bombs were designed and built. more
Plot Synopsis:This plot synopsis is empty. Add a synopsis
Plot Keywords:Los Alamos / Biographical / Historical / Robert
Oppenheimer / Nuclear Weapons more
Awards:2 nominations more
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Additional
Details
Also
Known As:Shadow Makers (UK)
more
Parents Guide:Add content advisory for parents
Runtime:127 min
Country:USA
Language:English
Color:Color (Technicolor)
Aspect Ratio:2.35 : 1 more
Sound Mix:Dolby
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Synopsis
In real
life, Robert Oppenheimer was the scientific head of the
Manhattan Project, the secret wartime project in New Mexico
where the first atomic bombs were designed and built. General
Leslie Groves was in overall command of it. This film reenacts
the project with an emphasis on their relationship. Written
by Anonymous (See
here)
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001-
About the DVD
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Actors:
Paul Newman, Dwight Schultz, Bonnie Bedelia, John Cusack, Laura Dern,
See more
Directors: Roland Joffé
VHS Release Date: May 5, 1998
Run Time: 127 minutes
US Theatrical Release Date: October 20, 1989
MPAA: PG13
Production Company: Paramount Pictures, Lightmotive |
| Music:
Ennio Morricone |
| English
dub, Chinese, English, French sub, total length 127 minutes |
| (See
here) |
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002-
About the Movie
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01-Plot
Summary:
In real life, Robert Oppenheimer was the scientific head of the
Manhattan Project, the secret wartime project in New Mexico where
the first atomic bombs were designed and built. General Leslie Groves
was in overall command of it. This film reenacts the project with
an emphasis on their relationship.(See
here)
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02-Editorial
Reviews
Amazon.com
Despite the combined star power in front of and behind the camera,
Fat Man and Little Boy is a largely tepid retelling of the history
of the Manhattan Project, the atomic testing project that led to
the U.S. bombing of Japan during World War II (said bombs were dubbed
"Fat Man" and "Little Boy"). The Nevada-based
project is headed by General Leslie R. Groves (a testy Paul Newman)
and scientist J. Robert Oppenheimer (Dwight Schultz of the TV series
The A-Team), who later regretted his cooperation in the project.
The problem with the film lies not with the acting, which includes
solid performances by Bonnie Bedelia, Laura Dern, John Cusack, and
future U.S. Senator Fred Dalton Thompson, but with the script by
director Roland Joffé and Bruce Robinson (Withnail and I and Joffé's
The Killing Fields). A subject as morally complex as the creation
of a supreme weapon requires a strong and thoughtful script, but
Fat Man and Little Boy never gets further than establishing that
indeed, atomic power is something to reckon with. Joseph Sargent's
1989 made-for-TV film Day One, with Brian Dennehy as Groves and
David Straithairn as Oppenheimer, covers the same story with twice
the depth and avoids the pitfall of a romantic subplot (Oppenheimer's
dalliance with a communist played by Natasha Richardson), which
this film stumbles into. Cusack's doomed scientist is actually a
combination of two real-life physicists, Harry Daghlian and Louis
Slotkin, who died from radiation poisoning, albeit long after V-J
Day. --Paul Gaita (See
here)
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03-With
the serious, and occasionally sublime, back-to-back Oscar contenders
The Killing Fields (1984) and The Mission (1986), director Roland
Joffé nearly fooled everyone into believing that a major new epicmaker
of great consequence had arrived. Just as quickly, however, Joffé's
promise unraveled, beginning with this mangled "historical"
drama about the creation of the atomic bomb, which, sadly, bears less
resemblance to the solemn purpose of his previous films than it foreshadows
the misguided silliness of his subsequent change of genre, Super Mario
Bros. (1993). Fat Man and Little Boy (1989) — the title a reference
to the nicknames assigned to the distinctively shaped bombs dropped
on Hiroshima and Nagasaki to bring an end to World War II — stars
Paul Newman as General Leslie Groves, the U.S. Army official charged
with beating the Germans in the development of nuclear weaponry. Groves
assembles a team of young scientists led by Dr. Robert Oppenheimer
(Dwight Schultz), questions over whose political associations are
muted by his doubtless ambition to conquer the project. No doubt there
is mighty grist for drama in this sprawling tale of momentous discovery
in the midst of grave international conflict, but Joffé only uncovers
such briefly. From the very get-go Fat Man and Little Boy is marred
by a horrific miscalculation of tone, unfortunately comic in its overproduced
recreation of the 1940s. The early scenes of Groves' reluctant reassignment
to The Manhattan Project are too broadly played, with Newman barking
his lines as if warming up for his forthcoming role the Coen Bros.'
Hudsucker Proxy (Ennio Morricone's mostly anonymous score is at its
very worst here, veering into screwball bombasticity). Eventually,
the film settles into a less abrasive style, but fails for the first
hour to create any palpable tension amongst the mostly faceless geniuses
tasked with fashioning from scratch the world's deadliest weapon in
19 months. The primary failing of these early scenes lies in screenwriter
Bruce Robinson's lazy decision to obscure the very science at the
heart of his narrative, severely distancing the audience from the
key struggle of the first half of his movie. As anyone who has ever
watched a Jeff Goldblum movie (like The Race for the Double Helix
or the 1986 remake of The Fly) knows, the science doesn't even have
to make sense to the viewer as long as intelligent actors are given
room to create a palpable thrill of discovery, but Robinson gives
us a single scene of this kind, and every successive breakthrough
(and tragic mishap) goes by virtually unexplained, muting their impact
and leaving them empathetically meaningless. Fat Man and Little Boy
finally catches some heat as Oppenheimer's team nears completion of
its mission and some members began to question the morality of their
work — and even petition the President to request that their two years
of toil never come to fruition — nearly derailing Grove's career and,
more importantly, his vision of unprecedented U.S. strength as a powerful
deterrent force. This strong half-hour, however, is eventually undermined
by a final stretch of uninspired, melodramatic speechifying, including
Oppenheimer's wife's (Bonnie Bedelia) plea for "peace, love and
understanding," and an overheated rant by the typically unstomachable
John C. McGinley about the looming specter of proliferation and Armageddon.
These unnecessary polemics shift the film from middling docudrama
to shallow propaganda. The climactic sequence of Oppenheimer feeling
the awesome power of his efforts during a test detonation is rendered
impotent by bizarre over-stylization (does a mushroom cloud need stylistic
augmentation for effect?). This final piece in Joffé's anti-war trilogy
soils the legacy of its more powerful predecessors, and punctures
his promise with an underwhelming whimper. For the most part, the
performances in Fat Man and Little Boy are as flat as Robinson's simple
characterizations. Schultz, previously known as the loony Murdoch
on TV's "The A Team," feels mostly out of his depth in the
very different, controlled character of Oppenheimer. The best performance
is given by John Cusak, whose fresh-faced scientist Michael Merriman
is a fictitious composite of a few real-life scientists, most notably
Joseph Slotin, whose true story offers the film's most gruesome glimpse
at the consequences of radioactive weaponry and also its most glaringly
opportunist departure from history, as Slotin's accidental exposure
to deadly radiation didn't occur until nearly a year after the events
covered in Joffé's movie. Also with Laura Dern, and brief appearances
by Fred Thompson and Natasha Richardson. Fat Man and Little Boy is
released by Paramount in a no-frills, occasionally grainy anamorphic
transfer (2.35:1) with both Dolby Digital 5.1 and Dolby 2.0 Surround
audio tracks. There are no extra features, not even a trailer. Keep-case.
—Gregory P. Dorr (See
here)
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English
dub, Chinese, English, French sub, total length 127 minutes
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Click
here for see a part, 11'04"( Save in CC-video)
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