Running time 119 minutes 126 minutes (extended 2005 version) Country Italy Spain France Language English German Spanish The Passenger (: Professione: reporter) is a 1975 directed. Written by, and Antonioni, the film is about an - journalist, David Locke () who assumes the identity of a dead businessman while working on a documentary in, unaware that he is impersonating an arms dealer with connections to the rebels in the current civil war. Co-starring, The Passenger was the final film in Antonioni's three-picture deal with producer and, after and, and competed for the at the. Contents • • • • • • Plot [ ] David Locke () is a television journalist making a documentary film on post-colonial Africa. To finish the film, he is in the seeking to meet with and interview rebel fighters involved in. Struggling to find rebels to interview, he is frustrated when his gets hopelessly stuck on a sand dune. After a long walk through the desert back to his hotel, a thoroughly glum Locke discovers that an Englishman, Robertson (Charles Mulvehill), who has also been staying there and with whom he had struck up a friendship, has died overnight at the hotel. Locke decides to switch identities with Robertson; he is tired of his work, his marriage and his life, and sees an opportunity for a fresh start. Posing as Robertson, Locke reports his own death at the front desk, where the hotel manager mistakes Locke for Robertson, and the plan goes off without a hitch. In London, Locke's wife Rachel () has been having an affair. She feels guilt-ridden and torn when she is informed of her husband's death. She approaches Locke's friend, Martin (), a producer at the, in an attempt to get in touch with Robertson so that she may learn more about her husband's last days. Meanwhile, 'Robertson' (Locke) has flown off to Europe with the dead man's belongings, including his appointment book. Locke soon learns that Robertson was gunrunning for the rebels whom, as a reporter, Locke had been trying to contact in the desert. When he goes to check out an airport locker listed in Robertson's diary, Locke is tracked down by the rebels' point man in Europe. He is there to complete the weapons sale. Since neither man has ever seen the other before, Locke's false identity is not revealed, and he hands the men the documents from Robertson's locker, and receives the first down-payment for the set up arms deal with Robertson before his death. Later Locke accidentally spots Martin on a street in, as the latter tries to track Robertson down on behalf of Rachel. Locke backtracks and at this point bumps into an architecture student () while trying to hide nearby. He asks her to fetch his belongings from the hotel, so he won't be seen there by Martin who camped out to catch up with 'Robertson'. Martin overhears that she is collecting Locke's baggage, and requests him to take her to meet 'Robertson'. The Passenger - 1975. A frustrated war correspondent, unable to find the war he's been asked to cover, takes the risky path of co-opting the I.D. Of a dead arms. The Passenger has 19,071 ratings and 2,941 reviews. Karen said: this is a three-star book but i had a four-star time reading it.it's a really fun fast. She manages to evade him, and join with Locke who leaves off Barcelona. They become lovers, and later, while trying to explain his rather odd behaviour, Locke confesses that he has stolen a dead man's identity. Locke is flush with cash from the down payment on the arms he cannot deliver, yet he is drawn to keep the meetings listed in Robertson's note book. In the meantime, Rachel has received his left behind belongings, which were returned from Africa. Having heard from Martin of his unsuccessful chase of the elusive 'Robertson', Rachel is shocked as she opens Locke's passport, to see Robertson's photo pasted inside. Having realised why 'Robertson' was so elusive, Rachel now heads off to Spain to track down Locke, who is in flight from the Spanish police, brought in by Rachel to track Robertson. The student girl is however loyal to Locke and helps him to evade, providing rational advice, but Locke sends her away, intending to reunite later in. Reaching the Gloria hotel in the Spanish town of, province of, Locke finds out that the girl has already booked them a double room, but then again he persuades her that she better leave. Taking her time, she wanders the dusty parking out, while the rebel agents in pursuit of Robertson arrive at the hotel. There Locke's assassination takes place, mostly off screen, in long take, ending with a single heard gun shot. The rebels leave the scene minutes before the police arrive with Rachel, to find Locke motionless in bed. There his wife says to the police agents, she 'never knew' the dead man, while the student girl identifies him as Robertson. • as David Locke • as the Girl • as Stephen • as Martin Knight • as Rachel Locke • Ambroise Bia as Achebe • Charles Mulvehill as David Robertson • as Hotel Keeper • James Campbell as Witch Doctor • Manfred Spies as German Stranger • Jean-Baptiste Tiemele as Murderer • as Police inspector Production [ ] In a long take early in the film, Locke (Nicholson) is exchanging passport photos in his hotel room, with a tape recording playing an earlier conversation between Locke and Robertson, now dead. The camera pans, without a cut, to hold on Robertson's now live appearance on the balcony, when Locke appears beside him and the two of them continue talking, i.e. An in-camera in-single-shot flashback. The film's shot is a seven-minute which begins in Locke's hotel room, looking out onto a dusty, run-down square, pushes out through the bars of the hotel window into the square, rotates 180 degrees, and finally tracks back to a close exterior view of the room's interior. • The location of the hotel is stated to be Osuna in the film. However, the bullring at the edge of the square is recognisably that of the one in the Spanish town of, in the. In a DVD commentary, decades later, Nicholson said Antonioni built the entire hotel so as to get this shot. • Since the shot was continuous, it was not possible to adjust the lens aperture as the camera left the room and went into the square. Hence the footage had to be taken in the very late afternoon near dusk, in order to minimise the lighting contrast between the brightness outside and that in the room. • The square was windy and the crew needed stillness to ensure smooth camera movement. Antonioni tried putting the camera in a sphere so the wind might catch it less, but this would not fit through the window. In the scene, it appears that the bars may have been adjusted to be removed as the camera approached them. [ ] • The camera ran on a ceiling track in the hotel room and when it came outside the window, was meant to be picked up by a hook suspended from a giant crane nearly 30 metres high. A system of was fitted on the camera to steady it during the switch from this smooth indoor track to the crane outside. Meanwhile, the bars on the window had been given hinges. When the camera reached the window and the bars were no longer in the field of view, they were swung away to either side. At this time the camera's forward movement had to stop for a few seconds as the crane's hook grabbed it and took over from the track. To hide this, the lens was slowly and smoothly zoomed until the crane could pull the camera forward. Then the cameraman walked the camera in a circle around the square, giving the crew time to shut the window bars before the camera returned to look through the window from the outside this time. Antonioni directed the scene from a van by means of monitors and microphones, talking to assistants who communicated his instructions to the actors and operators. Although this is often referred to as the 'final shot' of the film, there is one more. The last passage shows a small driving school car pulling away in the twilight, and the camera holds on the hotel as the film's credits begin to roll. Reception [ ]. Roof of in Barcelona, as seen in 2005. The look of the roof was quite different in 1975, during filming of The Passenger. Locke (Nicholson) asks the Girl to get his things from the hotel so as not to be seen by his friend from the BBC. The Passenger has been widely praised for its camerawork (by ) and its acting. It competed for the award at the. The film was praised by such critics as of and of. Wrote that it was a perceptive look at identity, alienation and the human desire to escape oneself. It was placed 110th in the 2012 critics' poll. References [ ] Explanatory notes. Running time 116 minutes Country United States Language English Budget $110 million Box office $303.1 million Passengers is a 2016 American directed by and written. It stars,, and. The story depicts two people who are awakened some 90 years too soon from an on a spaceship bound for a new planet. The film was released in the United States on December 21, 2016, in 2D and RealD 3D. It grossed $303 million worldwide but received mixed reviews from critics. The film was nominated for and at the. Contents • • • • • • • • • • • • • Plot [ ] The Avalon is transporting 5,000 colonists and 258 crew members, in pods, to the planet Homestead II, a journey taking 120 years. Thirty years into its journey, the ship passes through an asteroid field, which causes a malfunction. The malfunction awakens one passenger, mechanical engineer Jim Preston, 90 years too early. After a year of isolation, with no company except an named Arthur, Jim grows despondent and contemplates. One day, he notices Aurora Lane in her pod. He watches her video profile and is immediately smitten. After struggling with the morality of manually reviving Aurora for companionship, he awakens her, claiming her pod also must have malfunctioned. Aurora is devastated that she will grow old and die before the ship reaches Homestead II. Her attempts to re-enter hibernation are fruitless. Eventually, she accepts her situation and begins writing a book about her experiences. Jim and Aurora grow closer, and eventually fall in love. After another year, Jim inadvertently allows Arthur to reveal the truth to Aurora by saying that he and Aurora have 'no secrets' between them. Aurora is devastated; she considers his action tantamount to murder. She alternately berates, shuns, and physically attacks Jim. The two refrain from contact for some time. Soon after, another pod failure awakens Gus Mancuso, Chief Deck Officer. The three discover multiple failures throughout the ship's systems. If not repaired, the ship will continue to suffer critical system failures. Gus attempts to repair the ship with Jim and Aurora's help, while Aurora still blames Jim for stealing her life. Gus becomes ill; unlike Jim's, his body was physically damaged by his malfunctioning pod. The Autodoc, an automated medical diagnostics and treatment pod, shows he has only hours to live. Before dying, Gus gives Jim and Aurora his ID badge to access crew-only areas and repair the ship. Jim and Aurora discover a series of hull breaches from the meteor collision two years earlier. The computer module administering the that powers the ship has been damaged, causing the ship's escalating malfunctions. Jim and Aurora replace the damaged module. The computer attempts to vent the reactor in order to extinguish a massive reactor fire, but fails. Jim realizes that the reactor must be vented by opening the vent hatch from the ship's exterior. Aurora assists, while admitting she is terrified of losing Jim and being left alone. Aurora, from inside the ship, and Jim, outside, vent the reactor. Jim's tether snaps and his damaged spacesuit loses oxygen; Aurora retrieves and resuscitates Jim in the Autodoc. He later learns that the Autodoc can function as a makeshift hibernation pod—for one person. Aurora would never see Jim again. Eighty-eight years later, the ship's crew awaken as scheduled, shortly before arrival on Homestead II. They discover a small house amid lush flora fauna on the ship's grand concourse area. Aurora's book reveals that she chose to stay awake with Jim and continue writing her story. Cast [ ] • as Aurora Lane, a writer • as Jim Preston, a mechanical engineer • as Arthur, an on the Avalon • as Chief Gus Mancuso, the chief deck officer • as Captain Norris (non-speaking cameo) Production [ ] Development [ ] The original script for Passengers was written by in 2007, and had been in for years. In this original script, character Aurora's original surname was Dunn. At one point, the film was set to star and. The film's production budget was a relatively low $35 million, and at various points in its development, actors attached to it included,, and. Was originally scheduled to make his feature directorial debut with the film, with Reeves in the lead. On December 5, 2014, it was announced that had won the rights to the film. In early 2015, was chosen to direct the film. Tyldum had always wanted to do a massive sci-fi action movie, but also stressed the importance of a 'big guy' character-driven sci-fi film, rather than a cold and distant one. Described its plot as bearing a resemblance to the story '50 Girls 50' by, first published in the July–August 1953 issue of Weird Science, in which two passengers of a colony spaceship are awoken from hibernation early and fall in love. The cast –,,, and – were announced between February 2015 and January 2016. Lawrence was paid $20 million against 30 percent of the profit after the movie and Pratt was paid $12 million. Filming [ ] on the film began in September 2015 in. Filming occasionally took place for full days with a bulk of the shooting done around the two leads only. Was cinematographer, and was film editor. Music [ ] composed the musical score for Passengers. Spaihts said that he wrote Passengers while listening to Newman's previous scores. Also, recorded a song, 'Levitate', for the film's soundtrack. It was released on November 29, 2016. Release [ ] In August 2015, set the film's release date for December 21, 2016, in the United Kingdom, United States and Canada. The film was concurrently released in and formats, with the international rollout running through Christmas and the New Year, to January 12, 2017. Box office [ ] Passengers grossed $100 million in the United States and Canada and $203.1 million in other territories for a worldwide total of $303.1 million, against a production budget of $110 million. It is the second-highest grossing original live-action Hollywood release of 2016, after. Passengers opened alongside and, and was initially expected to gross around $50 million from 3,478 theaters over its first six days of release, although the studio was projecting a more conservative $35 million debut. After making $1.2 million from Tuesday night previews and $4.1 million on its first day, projections for the six-day opening were lowered to $27 million. It went on to gross $15.1 million in its opening weekend (a six-day total of $30 million), finishing third at the box office behind and Sing. It became the third-biggest original live-action domestic release of 2016 behind ($126 million) and La La Land ($149 million). Critical response [ ], a, reports that 30% of 235 surveyed critics gave the film a positive review; the is 5/10. The site's critical consensus reads, ' Passengers proves Chris Pratt and Jennifer Lawrence work well together – and that even their chemistry isn't enough to overcome a fatally flawed story.' On, the film has a score of 41 out of 100 based on 48 critics, indicating 'mixed or average reviews'. Audiences polled by gave the film an average grade of 'B' on an A+ to F scale. Mick LaSalle of gave the film three out of four stars. He stated 'despite the confinement and the limited cast, Passengers has moments of intense drama that take the actors to places of extreme feeling.' James Dyer of gave the film 4 out of 5 stars, stating the film is 'as surprisingly traditional as it is undeniably effective.' He described the film as ' amongst the stars' and 'a touching, heartfelt tale of loss and love for the generation.' Peter Keough of gave the film three and a half out of five stars, stating 'perhaps as a well-written play for a cast of three, Passengers might have been first class. Instead, it's just another mediocre thrill ride.' Peter Bradshaw of called the film an 'appealing sci-fi romance' but criticized the final act as an 'anticlimax'. He gave the film three out of five stars. Rebecca Hawkes of described the film as not a romance but 'a creepy ode to manipulation', describing the action as a 'central act of violence' that is softened and justified. Andrew Pulver of The Guardian called it an 'interstellar version of social-media stalking' with 'a fantastically creepy start' that, contrary to romantic comedies that manage to 'plane down' the nastiness of stalking tactics, presents them in a way where 'it's gruesomely inescapable'. Alissa Wilkinson of called it 'a fantasy of, in which the captured eventually identifies and even loves the captor' and 'a really disturbing wish fulfillment fantasy'. Home media [ ] Passengers was released on DVD and Blu-ray on March 14, 2017, and was made available on Digital HD from and on March 7, 2017. On March 14, 2017, Passengers: Awakening, a virtual reality experience based on the film launched for and. Accolades [ ] List of awards and nominations Award Date of ceremony Category Recipient(s) Result Ref(s) and Nominated Guy Hendrix Dyas Won Passengers Nominated Thomas Newman Guy Hendrix Dyas References [ ]. December 8, 2016. Retrieved December 8, 2016. Retrieved May 12, 2017. January 24, 2017. Retrieved January 24, 2017. • Kroll, Justin (17 July 2015).. Retrieved 25 November 2016. • Hawkes, Rebecca (November 24, 2016)... • ^ Kim Masters (June 16, 2015)... Retrieved April 13, 2016. Retrieved 16 July 2013. 18 April 2013. Retrieved 16 July 2013. • Fleming Jr, Mike (December 5, 2014).. Retrieved December 7, 2014. • Fleming Jr, Mike (January 27, 2015).. Retrieved January 28, 2015. • Brian Truitt (September 20, 2016)... Retrieved September 20, 2016. • Chilton, Luke (September 20, 2016).. Retrieved November 17, 2016. • Kroll, Justin (February 6, 2015).. Retrieved February 8, 2015. • Sneider, Jeff (February 6, 2015).. Retrieved February 8, 2015. • Kroll, Justin (July 17, 2015).. Retrieved August 6, 2015. • Ford, Rebecca; Siegel, Tatiana (August 5, 2015).. Retrieved August 6, 2015. • Galuppo, Mia (February 16, 2016).. Retrieved February 19, 2016. The Hollywood Reporter. September 29, 2016. Retrieved October 1, 2016. Venture Capital Post. September 25, 2015. Retrieved September 27, 2015. September 24, 2015. Retrieved September 27, 2015. • Jack Moulton (March 9, 2016).. Awards Circuit. Retrieved September 7, 2016. • Christopher Hooton (March 17, 2016)... Retrieved September 7, 2016. • Film Music Reporter (September 9, 2016).. Film Music Reporter. Retrieved September 10, 2016. • Spaihts, Jon [@jonspaihts] (September 20, 2016). Retrieved September 21, 2016 – via. • Mitchell, Bea (29 November 2016)... Retrieved 7 December 2016. • Kroll, Justin (August 5, 2015).. Retrieved September 21, 2015. September 20, 2016. Retrieved September 20, 2016. • ^ Scott Mendelson (March 15, 2017)... Retrieved March 15, 2017. • McClintock, Pamela.. The Hollywood Reporter. Retrieved December 20, 2016. The Hollywood Reporter. Retrieved November 6, 2017. Retrieved December 23, 2016. • on (December 21, 2016).. Retrieved June 1, 2017. • LaSalle, Mick... Retrieved December 20, 2016. • Dwyer, James... Retrieved December 20, 2016. • Keough, Peter.. • Bradshaw, Peter... Retrieved December 20, 2016. The Daily Telegraph. Retrieved December 29, 2016. • Andrew Pulver (December 15, 2016).. • Wilkinson, Alissa.. Retrieved December 29, 2016. • Nordyke, Kimberly (January 24, 2017).. The Hollywood Reporter. Retrieved January 24, 2017. January 24, 2017. Retrieved January 24, 2017. • Hipes, Patrick.. Retrieved 27 January 2017. • McNary, Dave (March 2, 2017).. Retrieved March 3, 2017. External links [ ] • • on • at • at • at •.
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