ロスト・イン・ラ・マンチャ [DVD]
メディアタイプ | DVD |
オーディオエンコーディング | Dolby Digital 2.0 Stereo |
対応デバイス | テレビ |
メーカー | 東北新社 |
登録情報
- アスペクト比 : 1.78:1
- 言語 : 英語
- 梱包サイズ : 18.03 x 13.76 x 1.48 cm; 83.16 g
- EAN : 4933364210869
- 監督 : キース・フルトン, ルイス・ペペ
- メディア形式 : 色, ワイドスクリーン, ドルビー
- 時間 : 1 時間 33 分
- 発売日 : 2006/5/25
- 出演 : テリー・ギリアム, ジョニー・デップ, ヴァネッサ・パラディ
- 字幕: : 日本語
- 言語 : 英語 (Dolby Digital 2.0 Stereo)
- 販売元 : 東北新社
- ASIN : B000F4MPEA
- ディスク枚数 : 1
- カスタマーレビュー:
カスタマーレビュー
星5つ中4.4つ
5つのうち4.4つ
全体的な星の数と星別のパーセンテージの内訳を計算するにあたり、単純平均は使用されていません。当システムでは、レビューがどの程度新しいか、レビュー担当者がAmazonで購入したかどうかなど、特定の要素をより重視しています。 詳細はこちら
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トップレビュー
上位レビュー、対象国: 日本
レビューのフィルタリング中に問題が発生しました。後でもう一度試してください。
2020年2月28日に日本でレビュー済み
Amazonで購入
『テリー・ギリアムのドン・キホーテ』のパンフレットでこの作品の存在を知りました。映画の完成に至るまでの苦難の歴史自体も興味深いものでしたが、若きジョニー・デップの美男ぶりを拝むだけでも一見の価値があると思います。
2023年3月25日に日本でレビュー済み
未視聴の方のために具体的に何が起こるかは書かないが、様々なトラブル続きで大作映画の撮影がとん挫する様子を記録したドキュメンタリー。見ている他人としては笑えるトラブルも色々あるが、ご本人達はさぞストレスで大変だったろう。
この作品は結局、本作から更に20年近くを経てやっと完成・公開に至るという、映画史に残る難産映画だった訳だが、完成版と観較べると当然、豪華俳優陣は入れ替わってる。でも、テリーの頭の中の映像イメージが本作と完成版の間で基本的にブレていない点には感心させられた。
そして、完成したらしたでそれ程よい評判が得られた訳でもなく、この企画に関してテリーは本当に不憫な目にあっている。それでも巨大資金をポシャらせながらも完成までこぎつけたご本人の執念は素晴らしい。
この作品は結局、本作から更に20年近くを経てやっと完成・公開に至るという、映画史に残る難産映画だった訳だが、完成版と観較べると当然、豪華俳優陣は入れ替わってる。でも、テリーの頭の中の映像イメージが本作と完成版の間で基本的にブレていない点には感心させられた。
そして、完成したらしたでそれ程よい評判が得られた訳でもなく、この企画に関してテリーは本当に不憫な目にあっている。それでも巨大資金をポシャらせながらも完成までこぎつけたご本人の執念は素晴らしい。
2011年1月17日に日本でレビュー済み
Amazonで購入
私も映画制作者ですが、見て損はありません。
ポシャった映画のメイキングドキュメンタリーなんて!
ポシャった映画のメイキングドキュメンタリーなんて!
2019年1月21日に日本でレビュー済み
Amazonで購入
バンデットQ、未来世紀ブラジル、12モンキーズ、フィッシャーキング などなどヒット作はあれど、明暗別れる波乱の監督の苦労話ドキュメンタリーです。ますます応援したくなりました。
2009年2月22日に日本でレビュー済み
そりゃ意見は真っ二つでしょう!
すべての映像制作に係わるポジションにいる人々にとっては間違い無く傑作です!
一度見てください。笑えます!泣けます!明日への勇気もらえます!
しかし、一方で…全くそんなことに興味のない人達にとっては凄く退屈なドキュメンタリーでしょう(笑)
すべての映像制作に係わるポジションにいる人々にとっては間違い無く傑作です!
一度見てください。笑えます!泣けます!明日への勇気もらえます!
しかし、一方で…全くそんなことに興味のない人達にとっては凄く退屈なドキュメンタリーでしょう(笑)
2004年3月15日に日本でレビュー済み
~制作費を回収するためにつくったようなドキュメント映画。
こんな手法を許してはいけないと思う。
今後、こんなものが蔓延するようなら、気軽に映画を楽しめなくなってしまう。
だから、この映画を観ることはとめはしないが、できるかぎりコストを抑えて観てほしい。
レンタルで十分。買ってはいけない…。
~~
また、ジョニー・デップを目当てに観ようと思っているヒトはがっかりすると思う。
実際、がっくりきました。~
こんな手法を許してはいけないと思う。
今後、こんなものが蔓延するようなら、気軽に映画を楽しめなくなってしまう。
だから、この映画を観ることはとめはしないが、できるかぎりコストを抑えて観てほしい。
レンタルで十分。買ってはいけない…。
~~
また、ジョニー・デップを目当てに観ようと思っているヒトはがっかりすると思う。
実際、がっくりきました。~
2008年3月4日に日本でレビュー済み
完成しなかった映画のメイキングが一本の映画になること自体不思議な気もするが、これは面白い。
次々にやってくる‘トラブル’
集まらないキャスト、うまくいかない段取り、最悪の撮影環境、天候まで反抗するしまつ。
ギリアムではないが、ラマンチャの呪いではないかと思うほど。
ただ、騒音によるトラブルは事前にわからなかったもんかねぇ・・とか思うが。
監督の思いばかりが先走りてな感じが見てるこちらは面白い。
それでも執念を燃やすギリアムだが、ジャン・ロシュフォールの腰の不調でついに製作を断念する。
取り上げたカットも出てくるのだが、これだけ見ても観たかったなぁと切に思う。
いつか、完成させていただきたいねぇ・・。
次々にやってくる‘トラブル’
集まらないキャスト、うまくいかない段取り、最悪の撮影環境、天候まで反抗するしまつ。
ギリアムではないが、ラマンチャの呪いではないかと思うほど。
ただ、騒音によるトラブルは事前にわからなかったもんかねぇ・・とか思うが。
監督の思いばかりが先走りてな感じが見てるこちらは面白い。
それでも執念を燃やすギリアムだが、ジャン・ロシュフォールの腰の不調でついに製作を断念する。
取り上げたカットも出てくるのだが、これだけ見ても観たかったなぁと切に思う。
いつか、完成させていただきたいねぇ・・。
2004年3月10日に日本でレビュー済み
Amazonで購入
もしこの映画が完成をしていたら絶対星5つものの作品になった
のでは…と思わされるテリー・ギリアムならではの細部までこだわり
ぬいた作品のはずだったのですが、残念ながら悪天候になかされ
完成半ばで終わってしまった作品。を、その途中までの製作過程や
どうして完成されることができなかったなどこの作品に携わった
さまざまな人のインタビューなどもまじえ、わかりやすく解説した
作品。是非テリー・ギリアムには再度挑戦してもらいたいと思うの
ですが。でもジョニー・デップにしろ、ヴァネッサ・パラディにしろ
そうそうたる面々を集めても完成できない場合があるのですね。
ジョニー目当ての方には登場シーンが少なく、ちょっと物足りない
かもしれませんね。
のでは…と思わされるテリー・ギリアムならではの細部までこだわり
ぬいた作品のはずだったのですが、残念ながら悪天候になかされ
完成半ばで終わってしまった作品。を、その途中までの製作過程や
どうして完成されることができなかったなどこの作品に携わった
さまざまな人のインタビューなどもまじえ、わかりやすく解説した
作品。是非テリー・ギリアムには再度挑戦してもらいたいと思うの
ですが。でもジョニー・デップにしろ、ヴァネッサ・パラディにしろ
そうそうたる面々を集めても完成できない場合があるのですね。
ジョニー目当ての方には登場シーンが少なく、ちょっと物足りない
かもしれませんね。
他の国からのトップレビュー
Thomas Philippe
5つ星のうち5.0
Ce qui aurait du être et n'a pas été...
2023年4月1日にフランスでレビュー済みAmazonで購入
On est toujours admiratif des films de Terry Gilliam. Tout comme Tim Burton, il posséde véritablement un univers où se mélange la poésie et le grand-guignol. Lorsqu'il s'attaque au mythe du personnage de Cervantés, on peut s'attendre à un futur succès. Sauf qu'il traine depuis quelques années, tout comme le parcours cinématographique du Seigneur de la Mancha, une poisse quasi légendaire. Et ici, elle va prendre des proportions quasi légendaires!
LFB
5つ星のうち5.0
Storia di un aborto cinematografico
2019年1月17日にイタリアでレビュー済みAmazonで購入
Lost in La Mancha è un bellissimo, romantico e malinconico documentario che parla di un film mancato, ma soprattutto parla di cinema, di un autore come Terry Gilliam, di quali sono i problemi pratici che si possono presentare nel corso di una produzione e di come tali problemi arrivano ad imporsi sulla creatività e sui sogni di un grande artista.
J. L. Sievert
5つ星のうち5.0
Man on a mission
2017年3月3日に英国でレビュー済みAmazonで購入
Lost is a decent theme and condition in “Don Quixote”. The protagonist is dotty, barmy, confused, disoriented. It’s a wonder he’s able to mount his horse properly, facing forward in the saddle instead of steering by the tail and stars. He’s lost in time as well, a mounted knight questing in the wrong century, chivalry no longer alive in his era. But not to worry. His mission is to restore it, to put things right. He quests for redemption and fulfilment. He wanders through deserts as Odysseus sailed through seas to find the Golden Fleece, the elixir that will cure the world of its many ills. Obstacles and dilemmas are problems to be confronted and dealt with, not cowed from and avoided. A rickety old windmill is a giant who shouts, waving his arms. It must be attacked, slayed for the good of the world. So, lance or sabre in hand, he rides forth, charging the enemy.
A sense of the divine and eternal also informs his quest. Giant killing is Don Quixote ridding the world of sin, cleansing it of its impurities. If Eden is the garden, the place of Paradise he longs to dwell in, the desert is a wilderness he must cross in order to reach it. In this inhospitable land he will be tested. Thus his wandering is not aimless at all. Only to the untutored eye does it seem so. Like Sancho Panza, his trusty servant and squire, we have everything to learn from the great don. He is not leading us astray. Indeed, like Moses or Brigham Young, he guides us through the desert to the land of milk and honey, the Promised Land.
Quixote is not the only man on a mission. So is Terry Gilliam, the principal subject of this film. It isn’t one he wanted to be in. It’s a film of the film he wanted to make, a documentary that chronicles failure, just as the great book by Cervantes does with Quixote, each an examination of good intentions gone wrong, of idealism defeated by harsh reality. It makes for painful viewing, which also mirrors in parts the reading experience of “Don Quixote”, a book about illusions and the shattering of them.
Gilliam worked for years on the script and storyboards for the film (“The Man Who Killed Don Quixote”). He’s an imaginative guy, a lover of fantasy, well known for films such as “The Fisher King” and “The Adventures of Baron von Munchausen”. He’s also the crazed illustrator of the Monty Python shows and films, his mind only working outside the box, apparently, never in it.
Who is the man who wanted to kill Don Quixote and why? We’re not sure, as the film did not get made, and we understand why when watching this excellent documentary of it, detailing as it does what went wrong with the production process. Johnny Depp was slated to be that man, the killer of Quixote (played by the fine French actor Jean Rochefort). He time travels from the 21st century to the 16th to carry out the assassination. He’s greedy and vicious, an ad man from the future, representing Gilliam’s take on the modern world. Quixote’s times were not purer than now, but at least they had no ad men in them, no marketing executives. You can tell Gilliam’s professional artistic life has been plagued by these vipers. He’d like to see Quixote run his lance through the chest of Depp’s character. We’d cheer at such a moment, just as we cheer when the oaken stake is driven through Dracula’s withered heart. We love to hate villains, and love it most when they die, preferably slowly, killed by the hand of our hero, even a shaky hand such as Quixote’s. So I wonder if the title is right. Shouldn’t it be “The Man Whom Don Quixote Killed”? As ogre, troll, dragon, giant or Godzilla, an ad man seems a good replica and target. Throughout most of human history our kind survived without marketing. When we left Africa 85,000 years ago there were no signs on the shores of the Red Sea that said “Better real estate beyond”. We coped and managed. Gilliam is the same. His complications are all part of a greater simplicity he strives for.
What happened? What ruined the making of the film? Two major catastrophes struck.
First, Gilliam lost Quixote (and how does one make a film about Don Quixote without Quixote in it?). Jean Rochefort’s back gave out. He couldn’t ride Rocinante, his horse. In fact, he could barely stand and walk. Two discs in his lower back were herniated, the pain intense. His handlers flew him back to Paris from La Mancha for treatment.
Second, the outdoor set was destroyed by a massive rainstorm. High winds, hail stones, flash floods. Props were swept away, equipment damaged, mud everywhere, and, after the storm passed, the light was all wrong. No sunshine, just grey-black clouds glowering low on the horizon.
The insurers were called in to assess the damage. Acts of God — such as massive rainstorms — were not covered under the policy. Compensation for lost and damaged property would not be forthcoming. At any rate, Rochefort was still in hospital in Paris. How long would he be bedridden? The doctors weren’t sure or weren’t saying.
The crew were restless. The second director (assistant to Gilliam) quit. Fate or the cinematic gods had conspired to wreck the project and crush Gilliam’s dream, the world around him falling apart.
After weeks of waiting in purgatory, no Quixote, finances dwindling, pressure and pessimism mounting. Forced to accept defeat, Gilliam was a broken man headed for the gallows. A perfect storm of bad luck and bad timing, literal and figurative, declared it wasn’t to be, years of planning and dreaming down the drain.
A scene near the end of the film is difficult to look at. Terry Gilliam sits alone in the director’s chair near a tent, nobody around him, his face in his hands, the posture and portrait of a man in despair. The only equivalent image I know of on film is Francis Ford Coppola putting a loaded handgun to his head amid the ruins of his outdoor “Apocalypse Now” sets, nearly everything destroyed by a powerful typhoon. But Coppola didn’t pull the trigger, the sets were rebuilt, the film proceeded and eventually was made (though not as coherently as he and many others had wished). Gilliam was not as fortunate. His film ended with only six days of shooting in the can, a fraction of what was needed to tell the story.
But like Coppola, Gilliam survived, and so did his dream. Rochefort and Depp are long gone from the project now. For a time it seemed as if the great Robert Duvall would replace Rochefort as Don Quixote. I could picture that. But in the game of musical chairs called casting in the film industry, things are forever changing. The Duvall moment came and went. For a time old Python buddy Michael Palin looked set to come onboard as Quixote. But that one didn’t pan out either. Finally, Jonathan Pryce signed on. Excellent actor, always good. Probably better than Palin in the role. And who replaces Depp as the modern ad executive whom Quixote mistakes for Sancho Panza? Adam Driver. Fine choice too.
The project is in pre-production and is expected to be released next year (2018). But…yes, there’s a hitch. Given its history, how could there not be? Filming was due to begin last October but still seems in abeyance due to funding issues again. Nevertheless, ever the optimist, Gilliam told the press this at Cannes last September:
“We should be back here in Cannes next year with the finished film, and then you can ask me why I made such a mess of it or why I made such a wonderful film.”
What an odyssey he has endured, all these years tilting at windmills of his own.
You’ve got to love what you do. If you don’t, you won’t survive. The forces of entropy that tear structures down are too great. You defy them with resilience, with a refusal to say no and die. Great art, a thing of creation, defies destruction. The will to live and express what it means is why people like Gilliam toil on as they do.
A sense of the divine and eternal also informs his quest. Giant killing is Don Quixote ridding the world of sin, cleansing it of its impurities. If Eden is the garden, the place of Paradise he longs to dwell in, the desert is a wilderness he must cross in order to reach it. In this inhospitable land he will be tested. Thus his wandering is not aimless at all. Only to the untutored eye does it seem so. Like Sancho Panza, his trusty servant and squire, we have everything to learn from the great don. He is not leading us astray. Indeed, like Moses or Brigham Young, he guides us through the desert to the land of milk and honey, the Promised Land.
Quixote is not the only man on a mission. So is Terry Gilliam, the principal subject of this film. It isn’t one he wanted to be in. It’s a film of the film he wanted to make, a documentary that chronicles failure, just as the great book by Cervantes does with Quixote, each an examination of good intentions gone wrong, of idealism defeated by harsh reality. It makes for painful viewing, which also mirrors in parts the reading experience of “Don Quixote”, a book about illusions and the shattering of them.
Gilliam worked for years on the script and storyboards for the film (“The Man Who Killed Don Quixote”). He’s an imaginative guy, a lover of fantasy, well known for films such as “The Fisher King” and “The Adventures of Baron von Munchausen”. He’s also the crazed illustrator of the Monty Python shows and films, his mind only working outside the box, apparently, never in it.
Who is the man who wanted to kill Don Quixote and why? We’re not sure, as the film did not get made, and we understand why when watching this excellent documentary of it, detailing as it does what went wrong with the production process. Johnny Depp was slated to be that man, the killer of Quixote (played by the fine French actor Jean Rochefort). He time travels from the 21st century to the 16th to carry out the assassination. He’s greedy and vicious, an ad man from the future, representing Gilliam’s take on the modern world. Quixote’s times were not purer than now, but at least they had no ad men in them, no marketing executives. You can tell Gilliam’s professional artistic life has been plagued by these vipers. He’d like to see Quixote run his lance through the chest of Depp’s character. We’d cheer at such a moment, just as we cheer when the oaken stake is driven through Dracula’s withered heart. We love to hate villains, and love it most when they die, preferably slowly, killed by the hand of our hero, even a shaky hand such as Quixote’s. So I wonder if the title is right. Shouldn’t it be “The Man Whom Don Quixote Killed”? As ogre, troll, dragon, giant or Godzilla, an ad man seems a good replica and target. Throughout most of human history our kind survived without marketing. When we left Africa 85,000 years ago there were no signs on the shores of the Red Sea that said “Better real estate beyond”. We coped and managed. Gilliam is the same. His complications are all part of a greater simplicity he strives for.
What happened? What ruined the making of the film? Two major catastrophes struck.
First, Gilliam lost Quixote (and how does one make a film about Don Quixote without Quixote in it?). Jean Rochefort’s back gave out. He couldn’t ride Rocinante, his horse. In fact, he could barely stand and walk. Two discs in his lower back were herniated, the pain intense. His handlers flew him back to Paris from La Mancha for treatment.
Second, the outdoor set was destroyed by a massive rainstorm. High winds, hail stones, flash floods. Props were swept away, equipment damaged, mud everywhere, and, after the storm passed, the light was all wrong. No sunshine, just grey-black clouds glowering low on the horizon.
The insurers were called in to assess the damage. Acts of God — such as massive rainstorms — were not covered under the policy. Compensation for lost and damaged property would not be forthcoming. At any rate, Rochefort was still in hospital in Paris. How long would he be bedridden? The doctors weren’t sure or weren’t saying.
The crew were restless. The second director (assistant to Gilliam) quit. Fate or the cinematic gods had conspired to wreck the project and crush Gilliam’s dream, the world around him falling apart.
After weeks of waiting in purgatory, no Quixote, finances dwindling, pressure and pessimism mounting. Forced to accept defeat, Gilliam was a broken man headed for the gallows. A perfect storm of bad luck and bad timing, literal and figurative, declared it wasn’t to be, years of planning and dreaming down the drain.
A scene near the end of the film is difficult to look at. Terry Gilliam sits alone in the director’s chair near a tent, nobody around him, his face in his hands, the posture and portrait of a man in despair. The only equivalent image I know of on film is Francis Ford Coppola putting a loaded handgun to his head amid the ruins of his outdoor “Apocalypse Now” sets, nearly everything destroyed by a powerful typhoon. But Coppola didn’t pull the trigger, the sets were rebuilt, the film proceeded and eventually was made (though not as coherently as he and many others had wished). Gilliam was not as fortunate. His film ended with only six days of shooting in the can, a fraction of what was needed to tell the story.
But like Coppola, Gilliam survived, and so did his dream. Rochefort and Depp are long gone from the project now. For a time it seemed as if the great Robert Duvall would replace Rochefort as Don Quixote. I could picture that. But in the game of musical chairs called casting in the film industry, things are forever changing. The Duvall moment came and went. For a time old Python buddy Michael Palin looked set to come onboard as Quixote. But that one didn’t pan out either. Finally, Jonathan Pryce signed on. Excellent actor, always good. Probably better than Palin in the role. And who replaces Depp as the modern ad executive whom Quixote mistakes for Sancho Panza? Adam Driver. Fine choice too.
The project is in pre-production and is expected to be released next year (2018). But…yes, there’s a hitch. Given its history, how could there not be? Filming was due to begin last October but still seems in abeyance due to funding issues again. Nevertheless, ever the optimist, Gilliam told the press this at Cannes last September:
“We should be back here in Cannes next year with the finished film, and then you can ask me why I made such a mess of it or why I made such a wonderful film.”
What an odyssey he has endured, all these years tilting at windmills of his own.
You’ve got to love what you do. If you don’t, you won’t survive. The forces of entropy that tear structures down are too great. You defy them with resilience, with a refusal to say no and die. Great art, a thing of creation, defies destruction. The will to live and express what it means is why people like Gilliam toil on as they do.
lia
5つ星のうち5.0
another addition to the collection
2013年11月21日にカナダでレビュー済みAmazonで購入
my niece is a collector of johnny depp and this was an obscure movie. I think she will be thrilled
natalia
5つ星のうち2.0
NO HAY AUDIO NI ESPAÑOL NI ITALIANO
2012年10月5日にスペインでレビュー済みAmazonで購入
Es mentira solo tiene audio en inglés,no tiene español y además carece de subtitulos,no entiendo porque poneis que si tiene esas cosas cuando NO LAS TIENE!!
muy enfadada!!
muy enfadada!!