Reception
The Year of Living Dangerously was entered into the 1983 Cannes Film Festival where it was well received by audiences and critics.
Film critic Roger Ebert gave the film four out of four stars and praised Linda Hunt's performance: "Billy Kwan is played, astonishingly, by a woman—Linda Hunt, a New York stage actress who enters the role so fully that it never occurs to us that she is not a man. This is what great acting is, a magical transformation of one person into another". In his review for The New York Times, Vincent Canby praised Mel Gibson's performance: "If this film doesn't make an international star of Mr. Gibson (Gallipoli, The Road Warrior), then nothing will. He possesses both the necessary talent and the screen presence". However, Time magazine's Richard Corliss wrote, "But in his attempt to blend his preoccupations with the plot of C. J. Koch's 1978 novel, Weir has perhaps packed too much imagery and information into his movie ... The plot becomes landlocked in true-life implausibilities; the characters rarely get a hold on the moviegoer's heart or lapels". In his review for the Washington Post, Gary Arnold described the film as "grievously flawed yet compelling tale of political intrigue, certainly a triumph of atmosphere if not of coherent dramatization". Newsweek magazine called the film "an annoying failure because it fritters away so many rich opportunities".
Read more about this topic: The Year Of Living Dangerously (film)
Famous quotes containing the word reception:
“He’s leaving Germany by special request of the Nazi government. First he sends a dispatch about Danzig and how 10,000 German tourists are pouring into the city every day with butterfly nets in their hands and submachine guns in their knapsacks. They warn him right then. What does he do next? Goes to a reception at von Ribbentropf’s and keeps yelling for gefilte fish!”
—Billy Wilder (b. 1906)
“Aesthetic emotion puts man in a state favorable to the reception of erotic emotion.... Art is the accomplice of love. Take love away and there is no longer art.”
—Rémy De Gourmont (1858–1915)
“To the United States the Third World often takes the form of a black woman who has been made pregnant in a moment of passion and who shows up one day in the reception room on the forty-ninth floor threatening to make a scene. The lawyers pay the woman off; sometimes uniformed guards accompany her to the elevators.”
—Lewis H. Lapham (b. 1935)