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4 sceen all digital cinema incliding Digital 3D and live broadcast capability in HD The first cinema outside Dublin and the first cinema in Ireland to broadcast The Metropolitian Opera season live from New York

Léirmheas The Hole In The Ground

Scríobh Stephen Shields The Hole In The Ground agus is é seo an chéad scannán a stiúir Lee Cronin, an stiúrthóir Éireannacha. Tá sé cosúil leis na scannáin Hereditary, The Hallow, A Quiet Place agus Under The Shadow agus is iad Seána Kerslake agus James Quinn Markey na príomhaisteoirí sa scannán seo. Bogann Sarah agus a mac óg, Chris, go dtí teach nua amuigh faoin tuath in Éirinn. Ach, sa choillte in aice leis an teach, tá poll mór sa talamh. Oíche amháin, imíonn Chris as radharc agus nuair a tagann sé ar ais, is cosúil go bhfuil sé gan dochar agus gan athrú agus tá an chuma air go bhfuil gach rud ceart go leor. Ach nuair a éiríonn a iompar an-ait, tá eagla ar Sarah nach bhfuil Chris an buachaill a thánaig ar ais.Níl aon amhras ach go bhfuil scannán uafáis maith é an scannán seo. Tá na haisteoirí agus an cineamatagrafaíocht go hiontach agus tá an scannán ar fad an-siamsúil. D’fhéadfaí a rá go bhfuil an iomarca scannáin ann anois cosúil leis an gceann seo ach tá an scannán seo an-mhaith ar aon nós. Ráta 4.5/5Tamara Ní Shíocháin

Ráta 4.5/5

Tamara Ní Shíocháin

 

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Léirmheas A Dog’s Way Home

Tá A Dog’s Way Home bunaithe ar an leabhar a scríobh W. Bruce Cameron sa bhliain 2017. Is é Charles Martin Smith an stiúrthóir agus is iad Ashley Judd, Bryce Dallas Howard, Jonah Hauer-King, Edward James Olmos agus Alexandra Shipp na príomhaisteoirí sa scannán mothúchánach seo. Tá sé an-oiriúnach do gach saghas duine go háirithe do theaghlaigh.

Insíonn an scannán seo an scéal faoin madra, Bella, agus í ag dul ar thuras fada ag iarradh dul abhaile. Thánaig Lucas ar Bella i láithreán tógála agus tugann sé abhaile í. Tá an bheirt acu an-sásta ach tar éis tamaill, cuirtear cosc ar úinéireacht na dtairbhí-bhrocaire agus caithfidh Bella dul go stáit eile chun fanacht le teaghlach eile. Ní mó ná sásta atá Bella agus éalaíonn sí agus tugann sí a haghaidh abhaile.

Tá an scannán seo an-simplí agus níl sé deacair a leanúint. Ach ina theannta sin, tá sé an-mhothúchánach agus an-bhrónach mar léiríonn sé mothúcháin Bella agus í ag iarraidh a úinéir a fháil. É sin ráite, níl aon amhras ach go bhfuil an scannán seo foirfe do theaghlaigh agus is fiú é a fheiceáil, gan dabht ar bith.

Ráta 3.5/5

Tamara Ní Shíocháin

Verdi’s “La Traviata” Live from Covent Garden Wed, Jan 30th

Wed, Jan 30th, at 6.45pm      

 

 

‘Traviata’, as Maria Callas showed, again and again, is an operatic treasure.

Guiseppe Verdi’s “La Traviata”, his nineteenth opera, premiered at Venice’s La Fenice Theatre on March 6th, 1853 – and that below-par opening night was a disaster. The soprano, who looked anything but consumptive, was greeted with derision at Violetta’s death scene – “A complete fiasco” was the composer’s verdict. It was a shattering blow to him, as ‘Rigoletto’, had premiered to wild enthusiasm in the ‘Fenice’ only two years earlier. But he held to his belief that he had written a great opera. He wrote to a friend: “’La Traviata’ was a fiasco  …  And, what’s worse, they laughed …  Am I wrong or are they? The last word on ‘La Traviata’ was not heard last night.  They will hear it again — and we shall see!”

Antonio Gallo, who ran the Teatro San Benadetto in the same city, agreed with Verdi – he pleaded for permission to stage the ‘failed’ opera. When, after some revisions, it was performed in Gallo’s theatre and was received with acclaim. Ever since, La Traviata (‘the woman who strayed’) has been among the most popular of all operas. The role of Violetta is one of the most demanding in all opera. The soprano is on an emotional roller coaster and she needs great versatility in acting and in voice to do justice to the part – Violetta goes from frivolous pleasure-seeker to a figure of genuinely tragic stature. It can be a monstrous part for a soprano. For Callas, with her “rainbow of tones” (Matthew Boyden), it was her favourite role. She may have been the greatest ever in the part – sadly she made no proper studio recording, but what we have of her in that role is matchless.

‘Traviata’ is just one other opera that survived calamitous premieres to become worldwide favourites – many believe that ‘Carmen’ first-night fiasco hastened Bizet’s early death; Rossini’s “The Barber of Seville”, was likewise greeted with derision.

‘Traviata’ is packed with marvellous arias, duets, ensembles and lovely tunes. Denis Forman, in “The Good Opera Guide”, is emphatic: “’Traviata’ is a great opera: the music speaks to us directly … we believe in the characters … We can take the opera to our hearts lock, stock and barrel because of the warmth and pathos of the story. Alpha-plus.” It has been called “the first grown-up opera about contemporary life”.

The plot:  Boy falls in love with girl; she’s not ‘good enough’ for his family; under parental pressure they separate; they get back together but it’s too late …

The real-life story happening which inspired ‘La Traviata’ is in itself a fascinating tale. Its subject was a cause of scandal for many in Verdi’s day. The libretto, by Piave, is adapted from Alexandre Dumas’ play, ‘La Dame aux Camelias’ – based on an event in Dumas’ own life. Its premiere in Paris, on February 2nd, 1852, with the legendary actress, Sarah Bernhardt, memorable as the heroine, was a triumph.  The novelist and playwright had a year-long affair with the Parisian courtesan, Marie Du Plessis. When it ended she returned to Paris where she died aged only twenty-three

Duplessis, though of tender years, was a famous courtesan who had been mistress to a number of wealthy men and had married twice; at seventeen her father had sold her to a seventy-year-old bachelor. When she died, greatly in debt, her belongings were sold. Charles Dickens attended the auction and wrote: “One could have believed that Marie was Jeanne D’Arc or some other national heroine, so profound was the general sadness”.

It’s Verdi’s magical music, the inherent drama of the plot, the wonderfully moving story that unfolds along with a soprano role that is a tour de force, which make ‘La Traviata’ so popular. The highlights are numerous. The preludes to Acts 1 and 3, The ‘Brindisi’ or drinking song, Alfredo’s first love song, ‘Un di felice’, and the marvellous ending to Act 1 are all genuine showstoppers. Then there’s the magical, if sad, duet, ‘Ditte Alla Giovinne’, in which Violetta asks Germont to explain to his son, Alfredo, why she’s leaving him. (Try to come by a celebrated 1920s recording of it by Amelita Galli-Curci and Guiseppe de Luca. Likewise, ‘Parigi o cara’, the duet towards the end, with John McCormack and Lucrezia Bori). And there’s so much more of beauty in its score.  In fact, I can think of no other opera (except Mozart’s miraculous work, “The Marriage of Figaro”) which has more showstopping ‘hits’.

With lavish period sets and costumes and directed by one of the great Directors of theatre and opera, Sir Richard Eyre, this production with Anthony Pappano at the podium, should be magnificent. A screening not to be missed. It’s Live at SGC on Wed, Jan 30th at 6.45PM. Be there. Gan teip.  [From Jim Ryan]

Shakespeare’s “King Richard the 2nd” on NT Live from London’s Almeida Theatre

“In performance it must be melodious, well orchestrated, youthful, headlong, violent and vivid”  (Sir John Gielgud)

Shakespeare’s “King Richard the 2nd. Broadcast live on January 15th at 7 pm.Book Now

Teresa May isn’t the first English ruler to suffer nightmares because of an “Irish Problem” – on October 2nd, 1394, King Richard the 2nd landed in Waterford with 10,000 soldiers to chastise some ‘recalcitrant Irish Lords’. His nine months’ progress was deemed a success; warlords from all over Ireland submitted to him in person. Unfortunately (for Richard), in June 1398, Richard Mortimer, the King’s lieutenant, was killed by the Gaelic Irish near Carlow. The King wasn’t wise enough to stay away from our ‘troublesome land’ and in the following year he returned. It was one of his last great mistakes. His army was weakened by ambushes while the drain on the finances back home was extremely unpopular. He rushed home to quell a rebellion but Richard Bolingbroke (who succeeded him as King Henry 4th) soon deprived him of his freedom, his crown and his life. If Richard had stayed at home, we would have no “King Henry the 4th, Part One”, no Harry Hotspur or Prince Hal – countless Inter Cert students would have shouted “Halleluiah to that”! But then, we wouldn’t have Falstaff or Mistress Quickly either from the Great Dramatist. And no Henry the 8th, no Cromwell in our history books. Ah, what might have been!Richard the 2nd is a play about the dethronement of a reigning King, how power corrupts, about the downfall of the moral order, about treachery and of how ruling elites exploit their inferiors – in fact, a play for our times! So subversive and dangerous  was it considered to be that in every edition published during the reign of Elizabeth 1, the great abdication scene, where Richard cedes the throne to his cousin Bolingbroke, was omitted – the Queen was the subject of many conspiracies and she never felt secure on the throne.                            The plot develops on the following line:-  Richard, a weak monarch, as much poet and dreamer as he is King, is faced by an opportunistic rival. Henry Bolingbroke, Duke of Hereford and cousin to the King,  accuses Thomas Mowbray of murdering the King’s uncle. The King sentences Mowbray to exile for life and Bolingbroke to six years of banishment. When John of Gaunt, Duke of Lancaster and uncle of Bolingbroke, dies, Richard seizes Gaunt’s estates – to pay for his upcoming Irish campaign. This illegal act gained him  powerful enemies, especially the Earl of Northumberland, father of Harry Hotspur. While Richard is in Ireland, Bolingbroke lands in Ravenspurgh, Yorkshire, in defiance of his banishment, and marches to Berkeley Castle. In a challenge to the King, Bolingbroke executes two of the latter’s great favourites, Bushy and Green. The populace sides with Bolingbroke and when Richard lands in Wales, he is imprisoned at Flint Castle. The rest is history ….I look forward to seeing Simon Russell Beale’s portrayal of Richard (a part that the late John Gielgud made his own), one of the least macho of English monarchs; Fiona Shaw has played the role in the National Theatre. This, the most poetic of the Bard’s plays, is also one of the most frequently produced.

 

What a great opportunity to see one of Shakespeare’s most interesting plays with a very strong cast. Well worth a visit, methinks!

From Jim Ryan.

 

 

Léirmheas Mary Poppins Returns

Tá Mary Poppins ar ais arís tar éis 54 bhliain. Seo é an dara scannán den tsraith agus is é Rob Marshall an stiúrthóir. Tá sé suite i Londain sna 1930í, 25 bhliain tar éis an chéad scannáin. Is iad Emily Blunt, Lin-Manuel Miranda, Ben Whishaw, Emily Mortimer, Pixie Davies, Nathaniel Saleh agus Joel Dawson na príomhaisteoirí sa scannán seo… ach tá Meryl Streep agus Colin Firth le feiceáil sa scannán freisin!

Filleann Mary Poppins agus a draíocht ar ais go Londain 25 bhliain tar éis a céad cuairt. Tugann sí cuairt eile ar Jane agus Michael Banks (ach is daoine fásta iad anois) agus ar chlann Michael tar éis tubaiste clainne a tharla. Tríd a scileanna draíochta, agus le cabhair óna cara Jack, cabhraíonn sí leis an gclann chun áthas agus iontas a athaimsiú.

Cheapfaí nach mbeadh éinne eile ábalta an páirt Mary Poppins a dhéanamh, ach amháin Julie Andrews. Níl aon dabht ach go léiríonn Emily Blunt nach bhfuil sé sin fíor mar bhí sí go hiontach sa scannán seo. Tá go leor cosúlachtaí idir an dá scannáin, go háirithe na hamhráin agus mar sin, tá sé saghas athráiteach in áiteanna. Ach é sin ráite, is scannán greannmhar agus taitneamhach é atá foirfe do pháistí agus do dhaoine fásta araon agus níl dabht ar bith ach go mbeadh miongháire ar dhaoine tar éis an scannáin seo a fheiceáil.

Tamara Ní Shíocháin

Ráta 4.5/5

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Simon Callow performs Charles Dickens’ “A Christmas Carol”: Dec 11th, 8PM.

Simon Callow performs Charles Dickens’ “A Christmas Carol”: Tues, December 11th @ 8PM.

       I think I would travel to hear Simon Callow read the telephone Directory- I’m sure he would make it sound interesting. I’ve seen him live onstage a number of times in London and never saw him give a poor performance – for me, he is one of the treasures of the English-speaking theatre. When I think of him I think of all that is splendid in theatre. He has adorned the stage for more than forty years since his debut at the 1973 Edinburgh Festival – that debut was in a Scottish 1552 play, “The Three Estaites”, which I saw performed (abbreviated) at this year’s Edinburgh Festival.

Callow was born in London in 1949 of English, French, German and Danish ancestry, but spent some of his childhood years in Africa. He studied at Queen’s University, Belfast. After some further acting in Lincoln and in the Traverse Theatre in Edinburgh, he arrived in London’s West End in 1975. Important roles soon followed and in 1978 he played the role of Titus Andronicus in Shakespeare’s gory play at one of my favourite theatres, The Bristol Old Vic – a theatre which has given us some of the greatest actors in the English-speaking stage. (In 2017 I saw there a superb production of Eugene O’Neill’s magical and monumental play, “Long Day’s Journey Into Night”, starring Jeremy Irons). Callow joined the National Theatre in 1979, where he played Orlando in “As You Like It” and Mozart in Peter Shaffer’s “Amadeus”. Later on, in the glorious film of the latter (because of the soundtrack, if nothing else – Mozart’s heavenly music), he gave us a memorable Emanuel Schikaneder, that theatre manager, librettist (he wrote the libretto of Mozart’s immortal opera, “The Magic Flute” – many regret that task wasn’t assigned instead to Lorenzo da Ponte  but that’s for another day!) and man of many parts. Simon also acted in a 1983 BBC Radio production of the play with its original cast– a recording of same is one of my most treasured possessions. He has made acclaimed appearances on TV and in movies and reading Audio Books, in Voiceovers, and TV serials and series.

His 1984 autobiographical and critical book, “Being an Actor”, was described by Sir Ian McKellen, as:- “The most honest book ever written about us all”. His attack on the excesses of modern Directors, both theatrical and operatic (he is also an acclaimed Director of opera), will bring joy to many of us who love both, as we suffer at times from the rampant self-promotion of those Directors who seem to think they are greater than Shakespeare, Mozart, Beethoven, Miller or whoever. His account of the week he spent as an ageing Michael MacLiammor’s Dresser is magical. And somewhere along the way, he found time to write a massive and acclaimed four-volume biography of another theatrical giant (in every sense!), the great but unfulfilled master, Orson Welles.

The story of Callow’s venturing into acting is often told; of his writing a fan letter to Sir Laurence Olivier, during the great man’s tenure as Artistic Director of The National Theatre. Olivier replied that he might like to come and work in the theatre’s Box Office. He did so and what he saw of the actor’s life led to his adoption of the profession.He has had a long association with Charles Dickens’s life and characters. Quite a few years ago, I saw him in “The Mystery of Charles Dickens” by Peter Ackroyd, and he was just masterly to behold

“A Christmas Carol“ is simply one of the most widely known stories ever written – its main character, Ebenezer Scrooge, has gained his place in the English language; since Dickens’ day, misers have so often been described as ‘Scrooges’, even by those who never read a word of the story. He has been, on countless occasions, given life in Film, in Cartoons, in the theatre, on TV and in countless other media since the story was written in October and November of 1843 and published in December of the same year. It’s a glorious tale of selfishness and greed but also of fellow feeling and redemption, that’s sure to “warm the cockles of your heart’ in these dreary December days.

Sorry if I repeat a word I’ve been known to use here previously  – but Simon Callow in “A Christmas Carol” by Charles Dickens, just two weeks before Christmas, has to be Unmissable. Watch a master ply his trade!

Jim Ryan.

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King Lear, NTLive Preview

”Ian McKellan reigns supreme in this triumphant production”. (Evening Standard)

Sir Ian McKellan, one of England’s greatest-ever actors, was born in Burnley, Lancashire in May 1939. He is, therefore, ideally qualified age-wise to play Shakespeare’s ageing king, who’s about to abdicate and thus set in train a cruel and calamitous train of events. I saw him undertake the role some years ago and wasn’t convinced that I saw Sir Ian at his best. Happily, his current assumption of the role in London’s West End is being hailed as a triumph. After so many years as a great of Stage, Screen, Radio and Television, I believe we have a treat in store at SGC. He is an actor I have seen live in the theatre on quite a few occasions and he rarely fails to excel. The review quoted at the head of this piece is representative of many such favourable assessments of the production.

The great Shakespearean scholar, A C Bradley, wrote:- “’King Lear’ has been described as Shakespeare’s greatest work, the best of his plays, the tragedy in which he exhibits most fully his multitudinous powers; and if we were doomed to lose all his tragedies except one, probably the majority of those who love him best would pronounce for keeping ‘King Lear’”. Late in his life, Richard Burton said that one of his great regrets was that he would never play Lear; it’s a tumultuous role demanding energy and the physical strength to carry his daughter, Cordelia. Lear is the Everest for actors who continue to act in later years.

‘King Lear’ can, in a good production, provide a memorable evening’s theatre that asks questions about human nature like no other play I know of. It has suffering, evil, reconciliations, cruelty, one of drama’s loveliest creations, Cordelia, and one of its great villains, Edmund –  along with some of the most magical poetry ever written. No one should lightly pass up a chance to see this towering play.

Shakespeare, the great poet/dramatist, has been on a pedestal for four centuries:- “He was not of an age but for all time”: (Ben Jonson, 1573 – 1637); “He was the man who of all the modern, and perhaps ancient poets, had the largest and most comprehensive soul”: (John Dryden, 1631 – 1700); “Our myriad-minded Shakespeare”: (Samel Taylor Coleridge, 1772 – 1834); and “Shakespeare, the nearest thing in incarnation to the eye of God”: (Sir Laurence Olivier, 1907 – 1989). For many, he is the world’s greatest dramatist who has created some of the greatest roles. Hamlet, Lear, Macbeth, Othello, Falstaff, Coriolanus, Iago and Prospero amongst the men; Lady Macbeth, Rosalind, Cleopatra, Portia,, Juliet, Desdemona, Viola, Volumnia and Olivia are marvellous females.

‘King Lear’ is seen by some as one of the great dramas of world literature and its author’s masterpiece. Such was the fascination it held for the composer, Guiseppe Verdi, that he expended more energy and thought on a ‘Lear’ opera (which never materialised) than on any of his operas. Shelley, described it as “the most perfect specimen of the dramatic art existing in the world”. A couple of centuries ago, that supreme essayist, Charles Lamb, dismissed it as the story of “an old man tottering about the stage with a walking-stick, turned out of doors by his daughters on a rainy night … The Lear of Shakespeare cannot be acted” – Lamb was wrong; it has had many memorable productions.

The plots centre around King Lear and the Duke of Gloucester; Lear’s experiences with his daughters has parallels with Gloucester’s dealings with his sons. Lear, a king in ancient Britain is over eighty years of age, and is about to abdicate. He sets up a ludicrous love test to see which of his three daughters loves him most. He rewards the flattering praise of his two eldest, Goneril and Regan. When the youngest, his favourite, Cordelia, refuses to compete in this charade, he becomes enraged, banishes her and divides her third of the kingdom between the other two.

To  In a rage at his humiliating treatment by his daughters and their servants, Lear rushes out on the stormy, rain-lashed heath where he learns about the worthlessness of worldly power. Meanwhile, the Earl of Gloucester is at the centre of a massive deception. His illegitimate son, Edmund, a ruthless, villain, convinces him that his loyal son, Edgar, is intent on killing his father. Edgar is hunted from court, and wanders around disguised as a naked beggar. The outcome for virtually all concerned is “cheerless, dark and deadly”.

Robert Eager wrote:- “Here is a family tragedy in which fathers are set against children, children against their fathers, brother against brother, sister against sister. It is a story of bitterness, jealousy, hatred, revenge and betrayal. It is about vanity, deceit and death. Opposed to all this nastiness are the virtues of love, loyalty, honesty and compassion”.  This drama of a dictatorial, petty old man deluded by the trappings of power, has scenes of elemental and terrible power. Lear on the heath, Gloucester’s savage punishment and the remorse of a chastened Lear, cognisant of his tragic errors; these are scenes that haunt the imagination. It is arguably Shakespeare’s most memorable tragedy.

‘King Lear’ is a play of redemption through suffering and the attainment of self-knowledge. In 1681, Nahum Tate, rewrote ‘King Lear’ giving it a happy ending, Lear is restored to his throne, Cordelia marries Edgar and all is well. Today we treasure the play as Shakespeare wrote it. ‘King Lear’ live from the National with the great Sir Ian –  miss it at your peril!

[Fogra: The three Oscar Wilde comedies by the Classic Spring Theatre Company that we’ve seen of late at SGC have been, for me, bordering on perfection. Thus, Dominic Dromgoole’s production of “The Importance of being Earnest” on Tuesday, October 9th, bids fair to be one of our 2018 highlights. Put it in your diary!]

Jim Ryan

 

Sir Ian McKellan as ‘King Lear’, NTLive. Broadcast here live Thurs, Sept 27 @ 7PM. Take a look at the preview.

 

Léirmheas The Predator

Tá an tsraith ‘Predator’ ar ais le athchóiriú na clasaiceach a thosaigh i 1987. Stiúir Shane Black an scannán ficsean eolaíochta seo agus scríobh sé an script chomh maith le Fred Dekker. Is iad Boyd Holbrook, Trevante Rhodes, Jacob Tremblay, Keegan-Michael Key, Olivia Munn, Thomas Jane, Alfie Allen, agus Sterling K. Brown na príomhcharactair sa scannán agus bhí ról caimeo ag Shane Black anuas ar bheith ina stiúirtheoir.

Buíochas leis na trí uasghrádú géiniteach, tá na sealgairí is marfaí sa domhan ar ais níos láidre, níos cliste agus níos measa ná riamh. Sa scannán seo, tógtar an fiach as an spás amuigh go dtí na bruachbhailte mar gheall ar bhuachaill óg. Braitheann todhchaí an domhain ar ghrúpa d’iar-shaighdiúirí agus ar bhitheolaí éabhlóideach.

Níl aon dabht ach go bhfuil an scannán seo saghas difriúil ón na scannáin eile mar tá sé greannmhar chomh maith leis an aicsean. Tá go leor gnéithe den scannán go maith ach uaireanta, chuir an meascán de ghreann agus dáiríreacht mearbhall orm. Ach é sin ráite, tá go leor pointí maith ag an scannán, le plota suimiúil, éifeachtaí fhísiúil den scoth agus go leor aicsin.

Tamara Ní Shíocháin

Ráta 3/5

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Léirmheas Black 47

Níl aon dabht ach go raibh 1847 an bhliain is measa i stair na hÉireann agus faoi dheireadh, 170 bliain ina dhiaidh sin, rinneadh an chéad scannán faoin Gorta Mór. Cuireadh Black 47 amach i bpictiúrlanna in Éirinn an tseachtain seo. Bhí sé stiúrtha ag Lance Daly agus tá aisteoirí iontacha sa scannán freisin idir na haisteoirí idirnáisiúnta agus na hÉireannaigh.

Bhí Martin Feeney (James Frecheville) ag troid leis an arm na Breataine in Afganastáin agus nuair a thánaig sé ar ais go dtí Conamara, bhí gach mac máthar imithe (fuair siad bás den ocras nó bhog said go Meiriceá), a chlann san áireamh. Thug Feeney faoi deara gur bhain roinnt daoine Éireannacha tairbhe as an nGorta mar bhí said ag obair leis na Briotanaigh. Sa scannán, tá sé ag iarraidh díoltas a bhaint amach ach ag an am céanna tá sé ag iarraidh pionós a sheachaint mar thréigh sé an arm.

Is rud an-tábhachtach í an Ghaeilge sa scannán mar úsaidtear an Ghaeilge chun idirdhealú a dhéanamh idir na daoine a bhí ag fulaingt agus na daoine a bhí ag baint tairbhe as an nGorta. Ina theannta sin, is léir go ndearna siad a lán taighde mar go raibh go leor fíricí stairiúla ann. Ach ó am go chéile, tá sé soiléir nach raibh buiséad an-mhór acu go háirithe sna radhairc trodaireachta. Ach é sin ráite, is é an chéad scannán faoin Gorta Mór, bhí an aisteoireacht thar barr agus bhí an cineamatagrafaíocht an-éifeachtach.

 

Tamara Ní Shíocháin

Ráta: 4/5BOOK NOW

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