Drowning by Numbers (1988)

Calificación de los usuarios:

6.8/10   

Director:

Peter Greenaway

Guionista:

Peter Greenaway (written by)

Fecha de Lanzamiento:

junio 1991 (USA)

Género:

Comedia | Drama

Frase comercial:

The great death game.

Plot:

Tired of her husband's philanderous ways, the mother of two daughters drowns her husband. With the reluctant help of the local coroner...

Plot Keywords:

Coroner | Murder | Number | Counting | Game

Premios:

3 wins & 1 nomination

Comentarios de los usuarios:

Games

Reparto

Joan Plowright	...	Cissie Colpitts 1
Juliet Stevenson	...	Cissie Colpitts 2
Joely Richardson	...	Cissie Colpitts 3
Bernard Hill	...	Madgett
Jason Edwards	...	Smut
Bryan Pringle	...	Jake
Trevor Cooper	...	Hardy
David Morrissey	...	Bellamy
John Rogan	...	Gregory
Paul Mooney	...	Teigan
Jane Gurnett	...	Nancy
Kenny Ireland	...	Jonah Bognor
Michael Percival	...	Moses Bognor
Joanna Dickens	...	Mrs. Hardy
Janine Duvitski	...	Marina Bellamy

También conocida como:

Conspiración de mujeres (Argentina) (Spain) [es]

Duración:

118 min

País:

UK | Netherlands

Idioma:

Inglés

Color:

Color

Relación de Aspecto:

1.66 : 1

Sonido:

Dolby

Clasificación:

South Korea:18 | Argentina:16 | Australia:M | Finland:K-16 | Sweden:15 | UK:18 | USA:R

Locaciones de Filmación:

Suffolk, England, UK

Compañía:

Film Four International

Trivialidades:

The painting in Madgett's room is that of Peter Bruegel's 'Children's Games (1560)'.

Citas:

Cissie Colpitts 1: [looking at the sleeping body of her son-in-law] Do *all* fat men have little penises?

Conexiones de Película:

References Viridiana (1961)

Banda de Sonido:

2nd Movement of Mozart's Sinfonia Concertante for Violin, Viola and Orchestra K354

Games

One woman in three bodies. Games about death, with death as a rule, and as a consequence. Life as this game and vice versa. The scoring of the game, the ruling of the script according to numbers. Sequential skipping through the numbers as a way of adumbrating the game to tell a story.

Another masterpiece from Greenaway, his most accessible in my view. But that makes it a lesser work compared to his others, because the story is perfectly comprehensible. One can see how his notion of structured visual allegory with narrative footnotes starts to emerge here. The latest I have seen at this writing is The Pillow Book where this is all so much more elaborate and integrated into the narrative. But this film still charms. I wish I could personally thank the financier.