Due giovani uomini violenti prendono una madre, un padre e un figlio in ostaggio nella loro casa vacanza e li costringono a giocare sadici "giochi" l'uno con l'altro per il proprio divertime... Leggi tuttoDue giovani uomini violenti prendono una madre, un padre e un figlio in ostaggio nella loro casa vacanza e li costringono a giocare sadici "giochi" l'uno con l'altro per il proprio divertimento.Due giovani uomini violenti prendono una madre, un padre e un figlio in ostaggio nella loro casa vacanza e li costringono a giocare sadici "giochi" l'uno con l'altro per il proprio divertimento.
- Regia
- Sceneggiatura
- Star
- Premi
- 5 vittorie e 9 candidature
Trama
Lo sapevi?
- QuizUlrich Mühe and Susanne Lothar, who play the father and mother, were a couple in real life from this movie until Mühe's death in 2007.
- BlooperWhen Anna and Georg are driving in their car, the reflection of a microphone between the front seats can be seen on the window.
- Curiosità sui creditiThe front credits list "music by" several classical composers and John Zorn. Given the director's outspoken views on modern media, including the "composer" of the hardcore "thrash metal" songs alongside the likes of Handel and Mozart is part of his message.
- ConnessioniFeatured in The Last Days of the Board (1999)
- Colonne sonoreCara Salva
from 'Atalanta'
Music by George Frideric Handel (as G.F. Händel)
Sung by Beniamino Gigli
Published by EMI DA 1918
Recensione in evidenza
I saw this movie again last night, for the third time, and once again had to keep watching each torturous minute until its chilling end. Going through the comments index, I see the expected responses: it was boring: it was pointless: it was too long: it's a satire: the games aren't actually that funny: it involved the audience in a neato way: it's nothing new: it's been done before. So I here offer an interpretation to add to the cacophany of reactions that FUNNY GAMES seem to engender.
What this movie reminds me of is the Book of Job, in the Bible, where God and Satan decide for their own amusement to torture this guy Job, killing his family, racking him with boils, and various other divine amusements. While watching this movie last night, I thought of another reference, this time from "King Lear": "Like flies to wanton schoolboys are we to the gods;/ They kill us for their sport." What this movie does is challenge the audience's own involvement in visual narrative -- usually, we watch movies from somewhere on-high and omniscient; we're invisible but we see all; we're voyeurs, just like God. In Haneke's film, we identify not with the victims but with the all-powerful killers as they set about their funny games. The two polite young men are performing their entertainments for us, the viewers; they're slaking our bloodthirst, our desire for gory spectacle - - after all, isn't this why we watch movies like this in the first place? Haneke, however, doesn't play the usual evasions; he makes explicit the audience's participation in violence; and he forces upon us the need to take responsibility for it.
I find this fascinating. I also find the negative comments here fascinating as well -- "not violent enough!" "the victims deserve to die..." "all the violence is off-screen..." "no gore at all, 'LAST HOUSE ON THE LEFT' did it first, with more blood...." etc. as being inadvertantly revealing of those viewers' psyche. I especially love the comment made by that one Viking guy, who writes that Haneke's film has "no point," and goes on to say "...I just hope those people break into MY house, so I can break them in two!"
I think Haneke made his point.
What this movie reminds me of is the Book of Job, in the Bible, where God and Satan decide for their own amusement to torture this guy Job, killing his family, racking him with boils, and various other divine amusements. While watching this movie last night, I thought of another reference, this time from "King Lear": "Like flies to wanton schoolboys are we to the gods;/ They kill us for their sport." What this movie does is challenge the audience's own involvement in visual narrative -- usually, we watch movies from somewhere on-high and omniscient; we're invisible but we see all; we're voyeurs, just like God. In Haneke's film, we identify not with the victims but with the all-powerful killers as they set about their funny games. The two polite young men are performing their entertainments for us, the viewers; they're slaking our bloodthirst, our desire for gory spectacle - - after all, isn't this why we watch movies like this in the first place? Haneke, however, doesn't play the usual evasions; he makes explicit the audience's participation in violence; and he forces upon us the need to take responsibility for it.
I find this fascinating. I also find the negative comments here fascinating as well -- "not violent enough!" "the victims deserve to die..." "all the violence is off-screen..." "no gore at all, 'LAST HOUSE ON THE LEFT' did it first, with more blood...." etc. as being inadvertantly revealing of those viewers' psyche. I especially love the comment made by that one Viking guy, who writes that Haneke's film has "no point," and goes on to say "...I just hope those people break into MY house, so I can break them in two!"
I think Haneke made his point.
- JonathanRimorin
- 22 mag 2003
- Permalink
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- Data di uscita
- Paese di origine
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- Juegos divertidos
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Botteghino
- Lordo in tutto il mondo
- 972 USD
- Tempo di esecuzione1 ora 48 minuti
- Colore
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- Proporzioni
- 1.85 : 1
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