The Sea Inside
1. Who were its creators or original developers? Pedro Almenabar 2. Exactly what are you reviewing? A movie based in a real life of Ramon Sampedro 3. When and where was it created? Ramon Sampedro born in Spain January 5, 1943 and died January 12, 1998, the movie was presented to audience in December 9, 2004, New York city, New York, USA. 4. Why was created?
On my personal opinion was created as a tribute to this man, that fight for obtain the permit to die, for the principles of euthanasia, due the circumstance of life that he had as a quadriplegic man, unable to take care of himself and didn’t move any part of his body except his mouth and eyes, due a terrible accident in the sea. 5. How was it made? The movie count with the videos, letters, notes, books and poems of the protagonist Mr. Ramon Sampedro, for the collaboration in enriching testimony of his lawyer, family and friends that help to make up and build the life of each character of the movie.
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Using ITT Tech Virtual Library to locate at least one review of your movie, book, or product. 1. What have others said about your movie, book or product? If someone should ask you, ‘What’s good at the movies? ,’ and you answer, ‘Well, there’s this swell Spanish film about a quadriplegic guy who’s fighting for the fight to die,’ chances are the next words you’ll hear are, ‘What else? ‘ Such antipathy characterized at least the initial North American response to The Sea Inside, a multiple prize-winning, box-office hit in Spain and elsewhere in Europe.
The film was no doubt aided overseas by greater familiarity with its subject, as a biopic concerning Ramon Sampedro, whose battle during the 1990’s to be able to choose a ‘death with dignity’ produced widespread media coverage, a best-selling book of his writings, and ultimately, in 1998, an assisted suicide. Its U. S. distributors no doubt have counted on Javier Bardem’s tour-de-force performance as Sampedro to win over recalcitrant spectators to a ‘triumph over disability’ story in which victory is achieved when the hero dies.
Paralyzed below the neck by an accident, Sampedro could not enact his wish for death without the help of others, which was banned by law. Ultimately he found a way to die (by drinking a solution containing cyanide) in which each individual act in the chain of assistance was not, by itself, illegal. Rather than simply flouting the law, he wanted to overturn it, taking his case unsuccessfully not only through the Spanish courts but also–as noted in press accounts, although not in the film–to the European Commission on Human Rights.
The Sea Inside is thus inevitably a political film, even if its political dimension doesn’t hold much interest for the filmmakers, who treat this aspect of their protagonist’s struggle perfunctorily and even jocularly. Aided by the lawyers and staff of a Spanish organization dedicated to “the right to die with dignity,” Sampedro faced opposition from the Catholic Church and inaction from a reluctant judiciary. In the film, a priest who is also quadriplegic seeks a personal debate, but his wheelchair can’t be carried up the narrow stairs to Sampedro’s bedroom.
A young priest’s attempt to serve as intermediary devolves into a comic sequence that effectively overwhelms the content of contrasting viewpoints. One can imagine a more trenchant treatment of arguments over ‘voluntary euthanasia’ that would make its opponents appear less laughable or cowardly. Some may remember that the Nazis practiced euthanasia on physically and mentally disabled Germans, ‘lives unworthy of life,’ in service of their racial doctrines and as prelude to the Holocaust.
Nevertheless, a film so grounded in historical actuality and social complexity might not have been expected from its young director and cowriter (and editor and composer), Alejandro Amenabar, previously known for stylish psychological thrillers. Born in Chile in 1972, as an infant Amenabar moved to Spain with his family in the following year of Pinochet’s coup. He grew up in Madrid and made his first feature, Thesis (1996), in his early twenties. Unreleased theatrically in the U. S. , it has begun to gain attention on video and DVD.
His second film, Open Your Eyes (1997), was remade into the Tom Cruise vehicle Vanilla Sky (2001), and Cruise got an executive producer credit on Amenabar’s third feature, The Others (2001), a ghost story with an English-language soundtrack, cofinanced by Miramax and starring Nicole Kidman. At this point his genre-based work appeared to place him on a familiar transatlantic, if not Hollywood-bound, trajectory, and some who followed his career applauded his breaking free from what they regarded as Spanish cinema’s self-absorption with the nation’s past and present dilemmas.
The Sea Inside may mark a new turn, or return, for Amenabar, but it also maintains the authorial tropes of his thrillers, a predominant concern with questions of consciousness and personal perception. A ship mechanic in his youth, Sampedro is seen in flashback and old photographs in the guise of a hunky, smiling Bardem, with a thatch of wild black hair and a woman in every port. On a beach outing, perhaps distracted by a sunbathing girlfriend, he dives into shallow water and smashes head first into sand, immediately paralyzed and barely rescued from drowning.
The film opens more than a quarter century after the accident, with Bardem puffy-faced, balding, and gray, an actor in his mid-thirties playing an invalid in his mid-fifties, with special makeup design credited to the British makeup artist Jo Allen. Still, acting as it were only from the neck up, Bardem as Sampedro retains his compelling charisma, transformed from callow stud into a man who reads, listens to opera and classical music, and devises gadgets that allow him to write and answer the telephone by holdings sticks and cords between his teeth.
His apparently resilient spirit (“You learn to cry with a smile,” he says) remains attractive to women, and draws to his side two disparate figures who seek to give and gain support in their own desperate circumstances–Julia (Belen Rueda), an attorney for the “Death with Dignity” group, suffering from her own progressively debilitating disease, and Rosa (Lola Duenas), a depressed and lonely factory worker and single mother. The intrusive Rosa brings her two young children on a visit, one a mischievous boy who pinches Sampedro’s hand to see if he can get a reaction, and declares to his mother after they leave, “He’s faking it. This accusation sets up the central scene in the film. Immediately afterward, we see Sampedro push back the covers, step out of bed, and run toward an open window–good gosh, could the kid be right? Suddenly the camera viewpoint soars out from the window over the landscape, swooping over hill and valley until it reaches the sea and alights on the beach. Amenabar has played a trick on us, relying on our own hopes and illusions about the character to fool us into momentary belief that these images of his fantasies may be real.
The chastening result for the spectator is a deeper insight into Sampedro’s mentality, the “impossible dreams” of which he speaks, and perhaps a further understanding of why he says, “I want to die because I feel that life in this condition has no dignity. ” Amenabar has shown a propensity in his earlier work to utilize dream images and illusions for thriller purposes, sometimes–as in Open Your Eyes–with a facile philosophical patina. Here, however, they are fundamentally rooted in circumstance and character psychology.
The Sea Inside marks a substantial forward step for the director, who in previous films (however satisfying their genre elements) has utilized surface figures whose behavior has been little more than an instrument of plot. From its central character, for whom heightened consciousness and fantasy life are both comfort and torment, extends a complex web of relationships each with its own often conflicting feelings and desires. Far more essential to Sampedro than his female admirers is the family that has tended to his needs since the accident.
Although lightly handled, their emotions shape a powerful undertone to Sampedro’s determination and his growing fame and controversy. His sister-in-law Manuela (Mabel Rivera) quietly and selflessly serves him, while his older brother Jose (Celso Bugallo), struggles with resentment and helplessness in the face of Ramon’s decision to die. Sampedro is mentor to his teenage nephew Javi (Tamar Novas) and tries to foster in the boy a respect for his silent, aging grandfather (Joan Dalmau).
A further counterpoint to Sampedro’s quest is set up when Gene (Clara Segura), a caregiver from the “Death with Dignity” group, becomes pregnant and brings forth a new life amid preparations for death. Amenabar and his cinematographer Javier Aguirresarobe (whose dark and atmospheric photography was perhaps the best thing about The Others, and who also shot Pedro Almodovar’s Talk to Her) shape a mise-en-scene consonant with their main character’s physical limitation. The spaces they create is almost as confined as his, and faces in close-up, alone or with another in the frame, carry much of the film’s emotion and narrative drive.
Yet the strength of the ensemble and the rich diversity of separate encounters with Sampedro keep the visual field from appearing narrow or constricted. The Sea Inside is undoubtedly a sentimental film. Bardem’s portrayal of Sampedro’s powerful personality compels assent, and there is little space for a spectator to respond other than simultaneously to acknowledge his desire and lament for him and those who care for him. “The person who really loves me will be the one who helps me die,” Sampedro says to Rosa as she agrees to be the last link in the chain of assistance that leads to his drinking the fatal concoction.
There is of course no other possible outcome, since, given whatever fictional inventions, the film generally adheres to the facts of Sampedro’s actual life and death. “I’ll be in your dreams,” he says at the end, offering the solace that fantasy and illusion have no finality. By Robert Sklar. Cineaste. Spring2005, Vol. 30 Issue 2, p52-53. 2p. 2 Black and White Photographs. Now that you have you prewriting done, you are ready to begin drafting your review. To organize your review, you should: * Identify the topic and provide the background information. * State the purpose of the review. * State your thesis/main point. Describe your movie, book, or product (this can be chronological or feature-by-feature) * Discuss the strengths and shortcomings (the pros and the cons) of your movie, book or product. * Conclude by briefly stating your overall assessment of the movie, book, or product (you may also offer some insight into the future/what is yet to come). Use this organization for the writing of your draft, which is due to your instructor in Unit 4. REVIEW “The Sea Inside” Film. Jennifer Gomez Esteves The right to die with the assistance of another person is an idea that many cannot handle well, but the mystery will be there always.
Because only the people that live with those circumstances feel the necessity of dying quietly and with dignity. EUTHANASIA is a difficult subject for each person. The majorities of states have laws against it and punish those who assist with it. In my personal opinion this movie has to be considered a classic, a master piece for future reference. It has to be analyzed and criticized since it has all the points of view that our imagination allows. But the most interesting way to see the film is from the human perspective: For God’s sake it is about life and death.
And as expressed by Ramon Sampedro in his long journey of 28 years, 4 months. “The right to live a life is a right not an obligation, as the authorities and the world would pretend, I am trapped in my most appreciated property, my body. For that reason today I quit and decide to die in peace with a good and a fast method. With assistance of my friends and that there help does not constitute any offense punishable by laws”. The Film “The Sea Inside” represents a real life drama, about this amazing and controversial theme. The narrative and the reality of the main character Ramon Sampedro is a master piece.
With the mixtures of different emotions and interaction of all his family, friends, lawyers, public in general, the church, Spain courts and the European Commission of Human Rights, he fights to involve all the institutions than can help him out. His difficult message and defenses about his believes is that he only wants to own the right to not be forced to live a non-life. Ramon Sampedro was a fisherman, passionate and adventurous young man. Born in Galicia, Spain. At the age of 25 years he suffered a spinal cord injury after misjudging the water’s depth in a dive.
After that unfortunate accident he would become a quadriplegic for the rest of his days. He can only move his head, mouth and eyes, can speak, hear and think but the rest of his body has no function at all. He began his crusade to terminate his life due to the impossibility of not being able to do anything for himself without the assistance of others. The total dependency on his family, the exhaustive job and hard work that he would burden his brothers and sisters with. The emotional disconnection with love, possibly never being able to marry and all the huge amounts of opportunities that was no longer there due to his accident.
He doesn’t have any illusion, anything encouraging in his world, because his was in a bed and being there for the rest of his life, at least the man’s law let him die with dignity. All the different legal processes are depicted in the movie The Sea Inside, the family contradiction and the entire yes-no reaction against his desires. Because they loved him. But they know he disagreed to continue his journal with an unhappy life. Each question that everyone asked him about as to why he wanted to die was presented in the film. And each argument would create new arguments, new reasons, new defenses, and new emotions.
Each word and success in the movie generates new situations and new emotions, all these emotions and human expressions and feelings are unstoppable. The Sea Inside tries more than to justify assisted suicide. It explains with a simple narrative throughout history how humans can think differently due totally uncommon and unexpected things. Prejudices and religious or philosophical ideas must be out of our heads when we see this movie. So just calmly accept his story, not the imposition of an idea but the conveyance of a message, starting from the point of view of the victim of the circumstances: Ramon Sampedro.