Tequila Sunrise (1988)

Calificación de los usuarios:

5.7/10   

Director:

Robert Towne

Guionista (WGA):

Robert Towne (written by)

Fecha de Lanzamiento:

2 diciembre 1988 (USA)

Género:

Acción | Crimen | Romance | Suspenso

Frase comercial:

Un cocktail explosif [French]

Plot:

Mac Mckussic is an unlikely drug dealer who wants to go straight. His old and best friend Nick Frescia...

Plot Keywords:

Drugs | Police | Drug Dealer | Mexican | Friendship

Premios:

Nominated for Oscar. Another 2 wins & 1 nomination

Comentarios de los usuarios:

vastly underrated noir

Reparto

Mel Gibson	...	Dale 'Mac' McKussic
Michelle Pfeiffer	...	Jo Ann Vallenari
Kurt Russell	...	Det. Lt. Nicholas 'Nick' Frescia
Raul Julia	...	Carlos / Comandante Xavier Escalante
J.T. Walsh	...	DEA Agent Hal Maguire
Gabriel Damon	...	Cody McKussic
Arliss Howard	...	Gregg Lindroff
Arye Gross	...	Andy Leonard
Daniel Zacapa	...	Arturo, Bartender at Vallenari's (as Garret Pearson)
Eric Thiele	...	Vittorio Vallenari
Tom Nolan	...	Leland
Dawn Martel	...	Sin Sister #1
Lala Sloatman	...	Sin Sister #2 (as Lala)
Budd Boetticher	...	Judge Nizetitch
Ann Magnuson	...	Shaleen McKussic

También conocida como:

Traición al amanecer (Argentina) (Venezuela) [es]
Conexión tequila (Spain) [es]

Duración:

115 min

País:

USA

Idioma:

Inglés | Español

Color:

Color

Relación de Aspecto:

1.85 : 1

Sonido:

Dolby

Clasificación:

Iceland:12 | Spain:18 | South Korea:18 | Philippines:R-18 | Netherlands:6 | Argentina:16 | Australia:M | Canada:13+ (Quebec) | Finland:K-16 | Singapore:M18 | Sweden:15 | UK:15 | USA:R | West Germany:12

Locaciones de Filmación:

Manhattan Beach, California, USA

Compañía:

The Mount Company

Trivialidades:

It was at one point meant to star real-life buddies Nick Nolte and Jeff Bridges, with Nolte as the cop and Bridges as the dealer.

Errores:

Continuidad: When Pfeiffer is at the police station getting her chef released, Russell pulls up and parks directly in front of her car. When they leave the station, his car isn't there and Pfeiffer is able to drive away unobstructed.

Citas:

Nick Frescia: You don't lose sight of the facts. Not unless you're nuts. You just... You lose sight of your feelings. Mac knows how he feels: he's crazy about you and he doesn't want to get caught. For a crook it's crystal clear. On the other hand for a cop it's confusing. Mac's my friend and I like him. Maguire's my associate and I hate him. I probably have to bust my friend if I'm going to do my job. But I *hate* drug dealers and somebody's got to get rid of Carlos. How do I do that?

Conexiones de Película:

Referenced in "The Golden Girls: Love Me Tender (#4.14)" (1989)

Banda de Sonido:

Recurring Dream

vastly underrated noir

Robert Towne, best known as the writer of Chinatown, directed this backstabbing corkscrew of a film from his own script after several notable directors didn't meet interpretation. A dark brooding piece, that is as meditative and murky as it is tightly written for suspense and twists, Tequila Sunrise focuses on the expectations that conventional mores place upon our freedom to interct and even love whomever our heart bids us.

Gibson plays a drug dealer with, if not a conscience, at least a code of some sort of ethics. He is raising a son and wants to retire from illegal activities so that he may be a good role model.

Russel plays a narcotics cop bucking for a promotion. In order to get his promotion he needs to bust the area's most notorious dealer... guess who. Problem: he and Gibson and childhood mates.

Pfeiffer is a woman caught between them, each one wanting her for different reasons. Raul Julia and J.T. Walsh complete the central players in a fine ensemble on people with agendas that may be worth sacrificing the alliances they have made along the way.

As the various subplots tie themselves into impossible-to-unravel knots, every character will be forced to question what it is he or she holds sacred. Tough and even regretted decisions are made. Friendships are made and dissolved, hearts are broken, revenges plotted...

Gibson is at his best here, Pfeiffer brings great depth to what could easily have been little more than a trophy role. Walsh and Julia are so poker-faced that an audience member who succeeds in reading all the angles should account himself no more than a lucky guesser as they leave you very few clues to work with.

Ironically, despite the desires of Gibson and Towne, the ending had to be altered to please test audiences. Later critics would harp severely on the final shot, the reviews keeping away significant audience. While the ending may be unsatisfying to the typically cynical noir fan, it does not change the fact that this a far-above-average genre flick with an excellent cast and a superb script.

Worth a watch, worth several.