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Andy K (10823 KP) rated The Irishman (2019) in Movies
Nov 28, 2019
Great but disappointing
Frank Sheeran starts in humble beginnings driving a meat truck while trying to make a living to support his family. He takes the favor of the right connect mobsters and quickly rises through the ranks to become one of its elite. He perpetrates countless villainous activities including murder, bribery, extortion and general unpleasantness toward his fellow man to the point where it almost becomes routine.
Enter Jimmy Hoffa.
Sheeran befriends the mighty Teamsters union boss and popular, yet controversial figure and the two form a lasting friendship. Sheeran sometimes operates as middle man between the hot-headed Hoffa and his mob contacts, always trying to unruffle feathers and keep the peace. Over many years, there are ups and downs even when Hoffa goes to prison, but their friendship endures.
Sheeran's life of excess has fractures his own family life; however, as his daughter becomes estranged after seeing just what her father is capable of. Their relationship is strained and may never recover. Sheeran's mob connections become more of a family for him as they are where his true loyalties lie.
Sheeran's role n the death of Hoffa has to be considered speculation as, to my knowledge, the perpetrator(s) have never been fully identified. This could be due to the source book by Charles Brandt "I Heard You Paint Houses" where Sheeran confesses. There is forensic evidence to back this up, so I guess it could be more definitive than I first suspected.
If you are comparing The Irishman to Goodfellas and/or Casino, you will be disappointed. Easily in 3rd place of the 3, I enjoyed while watching, but no sequence in particular really stood out. I can remember entire sections of both Goodfellas and Casino and here it seems like Scorsese has lost some of his creativity as far as cool camera shots, long pans or long takes in favor o just letting his fantastic cast have the spotlight. Not a bad idea if you have De Niro, Pacino and Pesci, but I still feel like the film lacked that extra "spark" making it truly great. The screenplay was adequate which is also surprising since Academy Award winning screenwriter Steven Zaillian is no stranger to an epic story, but, again, seems more by the numbers and not very standout.
The run time of almost 3 1/2 hours doesn't help as the film gets bogged down somewhat in the union infighting politics and I can see where that would bore much of the audience. There is a lot to enjoy about the film led by the stellar cast of course. De Niro, while always fantastic, doesn't really have the flashy part this time. Even Joe Pesci is understated compared to his characters in other Scorsese films. Pacino as the stubborn, bullish Hoffa is the standout in my opinion, but every time he gets angry and starts shouting I always think of his role as Big Boy Caprice in Dick Tracy (ok I'm a little weird).
I won't be surprised if the film gets lots of Oscars nods for acting, directing and technicals; however, I feel this is a case where it might be a hot property for a little while and then fade away quickly. We also still don't know if history might repeat itself and Oscar voters turn a cheek away from a Netflix film in favor of one with a more "traditional" distribution. Many believe the same happened in 2018 when critic favorite Roma lost to Green Book for the same reason.
We shall see...
Enter Jimmy Hoffa.
Sheeran befriends the mighty Teamsters union boss and popular, yet controversial figure and the two form a lasting friendship. Sheeran sometimes operates as middle man between the hot-headed Hoffa and his mob contacts, always trying to unruffle feathers and keep the peace. Over many years, there are ups and downs even when Hoffa goes to prison, but their friendship endures.
Sheeran's life of excess has fractures his own family life; however, as his daughter becomes estranged after seeing just what her father is capable of. Their relationship is strained and may never recover. Sheeran's mob connections become more of a family for him as they are where his true loyalties lie.
Sheeran's role n the death of Hoffa has to be considered speculation as, to my knowledge, the perpetrator(s) have never been fully identified. This could be due to the source book by Charles Brandt "I Heard You Paint Houses" where Sheeran confesses. There is forensic evidence to back this up, so I guess it could be more definitive than I first suspected.
If you are comparing The Irishman to Goodfellas and/or Casino, you will be disappointed. Easily in 3rd place of the 3, I enjoyed while watching, but no sequence in particular really stood out. I can remember entire sections of both Goodfellas and Casino and here it seems like Scorsese has lost some of his creativity as far as cool camera shots, long pans or long takes in favor o just letting his fantastic cast have the spotlight. Not a bad idea if you have De Niro, Pacino and Pesci, but I still feel like the film lacked that extra "spark" making it truly great. The screenplay was adequate which is also surprising since Academy Award winning screenwriter Steven Zaillian is no stranger to an epic story, but, again, seems more by the numbers and not very standout.
The run time of almost 3 1/2 hours doesn't help as the film gets bogged down somewhat in the union infighting politics and I can see where that would bore much of the audience. There is a lot to enjoy about the film led by the stellar cast of course. De Niro, while always fantastic, doesn't really have the flashy part this time. Even Joe Pesci is understated compared to his characters in other Scorsese films. Pacino as the stubborn, bullish Hoffa is the standout in my opinion, but every time he gets angry and starts shouting I always think of his role as Big Boy Caprice in Dick Tracy (ok I'm a little weird).
I won't be surprised if the film gets lots of Oscars nods for acting, directing and technicals; however, I feel this is a case where it might be a hot property for a little while and then fade away quickly. We also still don't know if history might repeat itself and Oscar voters turn a cheek away from a Netflix film in favor of one with a more "traditional" distribution. Many believe the same happened in 2018 when critic favorite Roma lost to Green Book for the same reason.
We shall see...
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Movie Metropolis (309 KP) rated Coco (2017) in Movies
Jun 10, 2019
Has pixar got it's mojo back?
Pixar has been on something of a downward trend of late, and that’s something I never thought I’d say. As much as it hurts, films like Cars 3, Finding Dory and The Good Dinosaur just don’t cut the mustard when compared to some of the studio’s greats.
Movies like Up, Inside Out and Wall.E as well as The Incredibles, which we’re finally getting a sequel to this year, are up there with the best animations ever produced, never mind just from Pixar. Hoping to get back on the right track this year, Pixar has released Coco. But are we back up to scratch?
Before we begin. Did you know you can now vote in the third annual Movie Metropolis Alternative Oscars? Vote for your favourite films from last year!
Despite his family’s generations-old ban on music, young Miguel (Anthony Gonzalez) dreams of becoming an accomplished musician like his idol Ernesto de la Cruz (Benjamin Bratt). Desperate to prove his talent, Miguel finds himself in the stunning and colourful Land of the Dead. After meeting a charming trickster named Héctor (Gael García Bernal), the two new friends embark on an extraordinary journey to unlock the real story behind Miguel’s family history.
The first thing of note is just how stunning Coco is to look at. Director Lee Unkrich (Toy Story 3) creates what could be Pixar’s finest looking film to date, it really is that staggering to watch. The colourful world of the Land of the Dead is astounding and it’s pleasing that he chooses to spend the majority of the film’s runtime here. Populated by vibrant animals and the living dead, it grabs attention from scene to scene and isn’t afraid to hold on.
The animation itself is spot on, but come on, this is Pixar we’re talking about, we expect nothing less. They really are getting very good at this photo-realistic scenery business and aside from the naturally carnival-esque Land of the Dead, it reeks of realism. The characters too are rendered in ridiculously detailed CGI with the work done on Coco herself being absolutely exquisite. Every well-deserved wrinkle and the remaining twinkle in her eyes – it’s all there.
Aside from all the spectacle though, at its heart, Coco is a film about family, and the importance of family no matter how annoying or frustrating they can be. This may sound a little straightforward in comparison to some of Pixar’s more mature themes, but it’s worth noting that the plot has more twists and turns in it than some of the best thrillers – it’s a brilliant story full of laughs and emotion.
The voice work done by the entire cast is absolutely sublime, but Anthony Gonzalez’s portrayal of Miguel is beautiful. His performance is perfectly integrated into the film as Miguel slowly unravels who he truly is – it’s a testament to the actors and actresses who lent their voices that it speaks to absolutely everyone in the audience.
Pixar films have never really been about moving from one set piece to another and what keeps Coco interesting is the constant shifts in tone, colour and story
Naturally, Pixar’s trademark wit and heart are here in spades. There are some genuinely funny moments that are beautifully juxtaposed with some more sombre scenes that make you realise just how important family is. Correctly awarded a PG certification by the BBFC means that smaller children may find some of the more adult themes a little hard to watch. In fact, there were a few children in floods of tears as I left the cinema.
Pacing wise, Coco is just about right for a family friendly film. At a shade under 110 minutes, it zips along smoothly, very rarely letting up pace. But Pixar films have never really been about moving from one set piece to another and what keeps Coco interesting is the constant shifts in tone, colour and story. In this respect, it’s up there with the very best the studio has to offer us.
It is unfortunate however that there is no Pixar Short attached to Coco. Films like Inside Out and Toy Story 3 had brilliant pre-movie films to get the kids interested in what they were about to see on screen. It’s not clear why Pixar chose to snub Coco like this, but that’s one of the only negative points in a film filled to the brim with memorable moments.
Overall, Pixar is well and truly back on track with Coco. They’ve managed to create a film that not only creates some new classic characters for the studio to bring back in a sequel, but they discuss life and death in a way that adults and children alike will enjoy. Couple this with a beautiful soundtrack with some gorgeous original songs, stunning animation and a heartfelt story and they’ve definitely recovered the animation crown. What a way to start 2018.
https://moviemetropolis.net/2018/01/13/coco-review-has-pixar-got-its-mojo-back/
Movies like Up, Inside Out and Wall.E as well as The Incredibles, which we’re finally getting a sequel to this year, are up there with the best animations ever produced, never mind just from Pixar. Hoping to get back on the right track this year, Pixar has released Coco. But are we back up to scratch?
Before we begin. Did you know you can now vote in the third annual Movie Metropolis Alternative Oscars? Vote for your favourite films from last year!
Despite his family’s generations-old ban on music, young Miguel (Anthony Gonzalez) dreams of becoming an accomplished musician like his idol Ernesto de la Cruz (Benjamin Bratt). Desperate to prove his talent, Miguel finds himself in the stunning and colourful Land of the Dead. After meeting a charming trickster named Héctor (Gael García Bernal), the two new friends embark on an extraordinary journey to unlock the real story behind Miguel’s family history.
The first thing of note is just how stunning Coco is to look at. Director Lee Unkrich (Toy Story 3) creates what could be Pixar’s finest looking film to date, it really is that staggering to watch. The colourful world of the Land of the Dead is astounding and it’s pleasing that he chooses to spend the majority of the film’s runtime here. Populated by vibrant animals and the living dead, it grabs attention from scene to scene and isn’t afraid to hold on.
The animation itself is spot on, but come on, this is Pixar we’re talking about, we expect nothing less. They really are getting very good at this photo-realistic scenery business and aside from the naturally carnival-esque Land of the Dead, it reeks of realism. The characters too are rendered in ridiculously detailed CGI with the work done on Coco herself being absolutely exquisite. Every well-deserved wrinkle and the remaining twinkle in her eyes – it’s all there.
Aside from all the spectacle though, at its heart, Coco is a film about family, and the importance of family no matter how annoying or frustrating they can be. This may sound a little straightforward in comparison to some of Pixar’s more mature themes, but it’s worth noting that the plot has more twists and turns in it than some of the best thrillers – it’s a brilliant story full of laughs and emotion.
The voice work done by the entire cast is absolutely sublime, but Anthony Gonzalez’s portrayal of Miguel is beautiful. His performance is perfectly integrated into the film as Miguel slowly unravels who he truly is – it’s a testament to the actors and actresses who lent their voices that it speaks to absolutely everyone in the audience.
Pixar films have never really been about moving from one set piece to another and what keeps Coco interesting is the constant shifts in tone, colour and story
Naturally, Pixar’s trademark wit and heart are here in spades. There are some genuinely funny moments that are beautifully juxtaposed with some more sombre scenes that make you realise just how important family is. Correctly awarded a PG certification by the BBFC means that smaller children may find some of the more adult themes a little hard to watch. In fact, there were a few children in floods of tears as I left the cinema.
Pacing wise, Coco is just about right for a family friendly film. At a shade under 110 minutes, it zips along smoothly, very rarely letting up pace. But Pixar films have never really been about moving from one set piece to another and what keeps Coco interesting is the constant shifts in tone, colour and story. In this respect, it’s up there with the very best the studio has to offer us.
It is unfortunate however that there is no Pixar Short attached to Coco. Films like Inside Out and Toy Story 3 had brilliant pre-movie films to get the kids interested in what they were about to see on screen. It’s not clear why Pixar chose to snub Coco like this, but that’s one of the only negative points in a film filled to the brim with memorable moments.
Overall, Pixar is well and truly back on track with Coco. They’ve managed to create a film that not only creates some new classic characters for the studio to bring back in a sequel, but they discuss life and death in a way that adults and children alike will enjoy. Couple this with a beautiful soundtrack with some gorgeous original songs, stunning animation and a heartfelt story and they’ve definitely recovered the animation crown. What a way to start 2018.
https://moviemetropolis.net/2018/01/13/coco-review-has-pixar-got-its-mojo-back/
Suswatibasu (1703 KP) rated The Golden House in Books
Jan 1, 2018
Insightful and readable
This novel by Salman Rushdie is a present day commentary on modern day America in the build up to Trump and how fact and fiction as well as art and reality collapse into one other. There have been a number of books written in the wake of the shock of Trump (this desperate need to make sense of things) and Rushdie’s novel definitely helps shed light (or explain the darkness) upon the situation.
Narrated by René, an aspiring filmmaker, this account feels very similar to the likes of The Great Gatsby, in which everything is rather hyperbolic because it is written from the perspective of an outsider. Following the exceedingly wealthy Golden family, René attempts to figure out the mysterious circumstances of their arrival from India, and the subsequent, often cataclysmic events surrounding them, in which the narrator plays a part. The slow emergence of a dark history of corruption and evil is paralleled by Rushdie's perception of the rise of ignorance, untruth, bigotry and hatred, and of "The Joker" (i.e. Trump, although he is never named).
The writing is brilliant. It is discursive, sometimes addresses the reader directly, even sometimes adopts the form of a screenplay and has a wonderful voice of its own. The context surrounding the Mumbai bombings is intriguing as much of it is based on factual information. The truth is, after all, stranger than fiction.
While the style is not flawless, as the postmodern blurring between supposedly objective narrative and things René has "made up" for his screenplay did get a little haphazard, however, this may be Rushdie's attempt to reflect how "post-truths" are disseminated in a similar fashion. Nonetheless, I thought The Golden House was enjoyable. Even after all these years, Rushdie is able to adapt his writing to suit a modern generation.
Narrated by René, an aspiring filmmaker, this account feels very similar to the likes of The Great Gatsby, in which everything is rather hyperbolic because it is written from the perspective of an outsider. Following the exceedingly wealthy Golden family, René attempts to figure out the mysterious circumstances of their arrival from India, and the subsequent, often cataclysmic events surrounding them, in which the narrator plays a part. The slow emergence of a dark history of corruption and evil is paralleled by Rushdie's perception of the rise of ignorance, untruth, bigotry and hatred, and of "The Joker" (i.e. Trump, although he is never named).
The writing is brilliant. It is discursive, sometimes addresses the reader directly, even sometimes adopts the form of a screenplay and has a wonderful voice of its own. The context surrounding the Mumbai bombings is intriguing as much of it is based on factual information. The truth is, after all, stranger than fiction.
While the style is not flawless, as the postmodern blurring between supposedly objective narrative and things René has "made up" for his screenplay did get a little haphazard, however, this may be Rushdie's attempt to reflect how "post-truths" are disseminated in a similar fashion. Nonetheless, I thought The Golden House was enjoyable. Even after all these years, Rushdie is able to adapt his writing to suit a modern generation.
Connor Sheffield (293 KP) rated Peaky Blinders - Season 1 in TV
May 20, 2017
Cillian Murphy (2 more)
Humour in places
Great Tension and drama
Bleeding Brilliant
A great drama series about a famous gang of youths from Birmingham known as the Peaky Blinders. If you are not aware of the history, they were known as Peaky Blinders for the razors they had sewn into the peaks of their caps, which they used to slice the faces of rivals who dared to cross them.
This series a brilliantly written, with some great humour in places but more importantly, it has great Tension and drama between it's characters.
The Shelby family has a great on screen presence with a great cast to portray it. Alongside the other groups of criminals, policemen, businessmen and of course the strong female characters that put some of the men in line and create drama within the families.
There are so many characters within this show. Some you love, others you just want to punch in the face, but all are brilliantly portrayed. My problem however, is that the show seems to ignore some of the characters and simply focuses nearly all of our attention to only Tommy Shelby (Cillian Murphy) and Chester Campbell (Sam Neill). Now, don't get me wrong, I still love the show and love both of these characters, but there are other characters I would love to see more of, and know more about.
At the time of writing this I have just started season 2 so my season two review may change this opinion, but for season 1 that is what I have to say.
Overall though, great cast, brilliantly written and directed with beautiful cinematography and without a doubt the highlight will always be the incredible performance, as always, by Cillian Murphy.
This series a brilliantly written, with some great humour in places but more importantly, it has great Tension and drama between it's characters.
The Shelby family has a great on screen presence with a great cast to portray it. Alongside the other groups of criminals, policemen, businessmen and of course the strong female characters that put some of the men in line and create drama within the families.
There are so many characters within this show. Some you love, others you just want to punch in the face, but all are brilliantly portrayed. My problem however, is that the show seems to ignore some of the characters and simply focuses nearly all of our attention to only Tommy Shelby (Cillian Murphy) and Chester Campbell (Sam Neill). Now, don't get me wrong, I still love the show and love both of these characters, but there are other characters I would love to see more of, and know more about.
At the time of writing this I have just started season 2 so my season two review may change this opinion, but for season 1 that is what I have to say.
Overall though, great cast, brilliantly written and directed with beautiful cinematography and without a doubt the highlight will always be the incredible performance, as always, by Cillian Murphy.
RəX Regent (349 KP) rated The Sound of Music (1965) in Movies
Mar 7, 2019
The hills are alive...
Contains spoilers, click to show
The film opens with a long travelogue styled flight through the Alps, with little music and just the wind and the clear air for company, until we end up on that now famous hill top, where the sound of music soars high and loud. This was shot in one of the many rival formats of the day, in this case, TODD-AO, a dynamic 70mm frame, and projected onto a massive screen, to great effect.
It is on that hilltop that we meet Maria, Julie Andrews, as she sings her way around the hills and Austria, unable to contain her musical aspiration or free spirit. We soon learn that she is finding it difficult to find her way as a nun, and is sent to work as a governess for Christopher Plummer's, Capatin von Trapp's, seven children.
Once there, she manages to endear herself to the family and well, the rest is history. The film is based on a true story but there a are several differences, mainly surrounding the political situation to added effect and the names and ages of the children to name but a few.
In the end the film looks great, with the von Trapp's villa set in a glorious location in Austria, relaxing a peaceful. There is a great sense of the family's interaction and growing bonds, both with the children and the Captain, whilst there is a gentle threat and tension from the baroness, the third party in the love triangle within the film, but there is little nastiness within the film, with the exception of the Nazi element, obviously.
With memorable songs, beautiful surroundings and great direction from Robert Wise, this has more than earned its place within the annuls of Hollywood greatness and will no doubt continue to flourish for generations to come, as timeless is not the word.
It is on that hilltop that we meet Maria, Julie Andrews, as she sings her way around the hills and Austria, unable to contain her musical aspiration or free spirit. We soon learn that she is finding it difficult to find her way as a nun, and is sent to work as a governess for Christopher Plummer's, Capatin von Trapp's, seven children.
Once there, she manages to endear herself to the family and well, the rest is history. The film is based on a true story but there a are several differences, mainly surrounding the political situation to added effect and the names and ages of the children to name but a few.
In the end the film looks great, with the von Trapp's villa set in a glorious location in Austria, relaxing a peaceful. There is a great sense of the family's interaction and growing bonds, both with the children and the Captain, whilst there is a gentle threat and tension from the baroness, the third party in the love triangle within the film, but there is little nastiness within the film, with the exception of the Nazi element, obviously.
With memorable songs, beautiful surroundings and great direction from Robert Wise, this has more than earned its place within the annuls of Hollywood greatness and will no doubt continue to flourish for generations to come, as timeless is not the word.
Jessi Bone (48 KP) rated Murder in the Reading Room in Books
Apr 30, 2019
Storyline (1 more)
Characters
How Far Would You Go For The Truth
Jane goes on a search to the Biltmore Estate to find Edward and discovers far more than she thought she knew about her own past. Now she must discover what she really wants for her future and her family she has created for herself and her sons. When enemies from the past and the present collide Jane must decide if the secrets of the library should be open for the world to see and read. As more of the story of the Templars and Guardians becomes unwound Jane discovers that everyone is keeping secrets from her both friends and foes that make her want to take a stand and change the rules of what has always been at Storyton Hall.
“Your Stories are their stories' said Uncle Abysius” By Jove, I think I like it.”
Mrs. Adams takes us beyond Storyton Hall to the walls of the Biltmore Estate. She outdoes herself again. As a long time Ellery Adams fan she blew me away with this story-line and how she evolved the characters in this five Book Retreat Series. I must say this is my favorite book of the series. I really recommend this book to anyone who enjoys a who done it, thriller, bibliophile or even a little romance it has all of those and a little history too. It is really worth your time to pick up the book and take a trip to Storyton Hall even if only for an hour at a time to escape to a place where books are protected and cherished and the characters will make you feel like you are coming home.
“Your Stories are their stories' said Uncle Abysius” By Jove, I think I like it.”
Mrs. Adams takes us beyond Storyton Hall to the walls of the Biltmore Estate. She outdoes herself again. As a long time Ellery Adams fan she blew me away with this story-line and how she evolved the characters in this five Book Retreat Series. I must say this is my favorite book of the series. I really recommend this book to anyone who enjoys a who done it, thriller, bibliophile or even a little romance it has all of those and a little history too. It is really worth your time to pick up the book and take a trip to Storyton Hall even if only for an hour at a time to escape to a place where books are protected and cherished and the characters will make you feel like you are coming home.
Cynthia Armistead (17 KP) rated Hunt the Moon (Cassandra Palmer, #5) in Books
Mar 1, 2018
Chance must have thought readers were bored with the Cassandra/Mircea match, because much of this book is spent with Cassie falling for Pritkin without really being aware that she's getting into dangerous territory.
Palmer isn't one of my favorite characters. She isn't an ass-kicker, but she's probably somewhat more realistic than most paranormal heroines for that fact. She's coming into her own by standing up to Mircea more in this volume, but she does it in childish ways. I find her annoying partially because I'd hate to try protecting her from herself, much less anyone else.
I don't honestly understand why Mircea and Pritkin are attracted to her, either, but part of the romance formula is the heroine has to be irresistible to at least one, preferably more than one man. I do find Mircea and Pritkin interesting (they just have bad taste in women), so they and the plots hold my interest.
To be fair, Cassie seems to be growing up a little bit. Not entirely, but she's growing a little. She does vehemently claim to care about whether or not other people get hurt trying to protect her.
This book also serves as backstory time for Mircea and Pritkin, as we learn a lot more about their pasts. Things drag a bit while they relate their stories, and in fact there seems to be little point in what we hear from Mircea (readers of the series already know a lot about his family and history).
Altogether, I wouldn't have read it if I weren't already so far into the series. I do wish Chance would switch focus to another character. (I'm aware of the Dorina Basarab series set in the same universe, and consider them to be better books in general). I suppose that's unlikely, seeing as it's the Cassandra Palmer series.
Palmer isn't one of my favorite characters. She isn't an ass-kicker, but she's probably somewhat more realistic than most paranormal heroines for that fact. She's coming into her own by standing up to Mircea more in this volume, but she does it in childish ways. I find her annoying partially because I'd hate to try protecting her from herself, much less anyone else.
I don't honestly understand why Mircea and Pritkin are attracted to her, either, but part of the romance formula is the heroine has to be irresistible to at least one, preferably more than one man. I do find Mircea and Pritkin interesting (they just have bad taste in women), so they and the plots hold my interest.
To be fair, Cassie seems to be growing up a little bit. Not entirely, but she's growing a little. She does vehemently claim to care about whether or not other people get hurt trying to protect her.
This book also serves as backstory time for Mircea and Pritkin, as we learn a lot more about their pasts. Things drag a bit while they relate their stories, and in fact there seems to be little point in what we hear from Mircea (readers of the series already know a lot about his family and history).
Altogether, I wouldn't have read it if I weren't already so far into the series. I do wish Chance would switch focus to another character. (I'm aware of the Dorina Basarab series set in the same universe, and consider them to be better books in general). I suppose that's unlikely, seeing as it's the Cassandra Palmer series.
Disclaimer: I received an e-copy in exchange for an honest review.
Luna was born in the Netherlands, moved to Spain with her husband, gave birth to two wonderful boys, and then her husband tragically passed. She knows she has ties to Spain via a lost grandfather, and she needs to prove who he was and her relationship to him in order to remain in Spain as a national instead of keeping as Visa as a foreigner. However, trying to track down this man proves to be more difficult than she initially thought, and she meets interesting people and uncovers a lot of secrets along the way, secrets that many in Spain would rather keep hidden.
This was a wonderful story. It bounces back and forth between the late 1930s and 2009/2010, as it provides the actual story of Luna's grandfather as a backdrop during her search. While it did get somewhat confusing trying to keep the relatives and relationships straight, it was a very emotional story with a variety of offshoots, and it was interesting to see how the lives of the people in the 30s affected what was going on 70 years later. The 30s was a time of civil unrest and war in Spain, which is why nobody wants Luna digging up the past, both literally and figuratively. However, she has to know about her family, and we learn all about the tragic tale right along with her.
There's romance, heartbreak, a mystery, and tales of war. This book will appeal to a variety of people, and I recommend you read it, not only if you like romances but also if you want to learn a little about the history of Spain during a time they'd rather forget.
4 stars
Luna was born in the Netherlands, moved to Spain with her husband, gave birth to two wonderful boys, and then her husband tragically passed. She knows she has ties to Spain via a lost grandfather, and she needs to prove who he was and her relationship to him in order to remain in Spain as a national instead of keeping as Visa as a foreigner. However, trying to track down this man proves to be more difficult than she initially thought, and she meets interesting people and uncovers a lot of secrets along the way, secrets that many in Spain would rather keep hidden.
This was a wonderful story. It bounces back and forth between the late 1930s and 2009/2010, as it provides the actual story of Luna's grandfather as a backdrop during her search. While it did get somewhat confusing trying to keep the relatives and relationships straight, it was a very emotional story with a variety of offshoots, and it was interesting to see how the lives of the people in the 30s affected what was going on 70 years later. The 30s was a time of civil unrest and war in Spain, which is why nobody wants Luna digging up the past, both literally and figuratively. However, she has to know about her family, and we learn all about the tragic tale right along with her.
There's romance, heartbreak, a mystery, and tales of war. This book will appeal to a variety of people, and I recommend you read it, not only if you like romances but also if you want to learn a little about the history of Spain during a time they'd rather forget.
4 stars