Wolkenatlas Film Neuer Bereich
Auf der Heimreise von einer Südseeinsel im Jahr schließt der junge Anwalt Adam Ewing Freundschaft mit einem geflüchteten Sklaven. Das Erlebnis der Brüderlichkeit verändert nicht nur sein Leben. Adams Tagebuch entfesselt die Schöpferkraft. Cloud Atlas (Film) – Wikipedia. Der Wolkenatlas, englischer Originaltitel Cloud Atlas, ist ein erschienener Roman des Gerade als sie sich einen alten Film aus dem Jahrhundert. Bild: ARD Degeto/Cloud Atlas Production/X-Filme. Spielfilm USA/Deutschland/Hongkong Im Jahr wird der junge Notar Adam. Die ARD zeigt „Cloud Atlas“ mit Tom Hanks und Halle Berry. Wir erklären den Millionen-Dollar-Film von Tom Tykwer und den Wachowskis. Film Der Wolkenatlas: Sechs Schicksale in Jahren - und doch ein einziges Abenteuer: ein Geflecht aus Abenteuern von Tom Tykwer und den Wachowskis. Dabei verknüpft "Cloud Atlas" mit spielerischer Leichtigkeit Genres wie Abenteuerfilm, Thriller, Fantasy und Endzeitdrama. Schöpferischer.
Sep 11, Jenn ifer rated it it was ok Recommends it for: i wouldn't. Shelves: read-in , gr-group-coreads , my-reviews-that-dont-suck.
I know, right? How could anyone dislike The Matrix? It all starts to click. I kept waiting for that BAM! Instead I found myself more and more frustrated, finding fault with every gimmick.
Go all the way, I say! Oh what, you think that would be too annoying? Ur rite. It would b. So y chanj da spelng at al?
It just ends up being distracting. A clever idea for sure. The thing about clever ideas is this, you really need to trust that your reader is as clever as you!
We can pick these things up without you telling us. I'm sure you were going for something really important and profound there, but it was completely lost on me because that 'style' you came up with was ridiculously irritating.
At least you have a sense of humor about it all, right pal? You saw the criticisms coming, and you gave them a swift kick in the ass well, your character did, literally right from the get-go.
As if Art is the What, not the How! From the Mrs. If you were experimenting with genres, take note, pulp is not your thing. Hey, they even got the same actor to star in the film!
If it means anything, I thought Black Swan Green was ace in the face! Several short stories, that on their own are relatively weak.
The author has linked them together tenuously with some mistakenly profound pseudo-religious nonsense and a tattoo. An interesting idea, let down by the poor quality of the writing.
Pretentious twaddle of the highest order This book seems to be one of those hoaxes to call out hack reviewers. I'm slightly puzzled by the fact that Mitchell hasn't come forward yet six years after publication.
The whole thing is a pretentious construction of six separate stories, with the protagonists in each being incarnations of each other, and ending up in possession of the story of the previous one in some way.
The first one is the story of some American lawyer on a ship in the Pacific some time in the s. It's supposed to be a journal, but it's a hideously unconvincing one.
If it wasn't intentional, I don't know why these pretentious cockpouches never seem to be able to manage a decent pastiche; it's as if actually reading anything they didn't write themselves is beneath them.
The fact that it's rife with anachronisms doesn't help. The second story takes the form of letters written by an English twat in the s, who moved to Belgium to escape debt.
It's probably completely forgettable to non-Belgians, but a special kind of annoying to me. Mitchell managed to spell "Zedelgem" as "Zedelghem", which was indeed the correct spelling before the spelling reform of , but uses the modern spelling for everything else.
I don't know enough about the spelling reforms of French in the 20th century to say if he made the same mistake there, but I'm guessing he did.
Somewhere along the way this English twat finds the diary of the American twat for no good narrative reason, because that's what passes for plot coherence.
The third story is an attempt at an action spy thriller type novel set in , the link with the previous one being the addressee of the letters, who passes them on to the protagonist of this one.
It's as forgettable as the fourth one, which is something about some old guy who's sent the manuscript of this novel in the mail.
Somewhere along the way a writer throws a reviewer off a balcony, I don't know. The fifth is where he really shines: it's set in the unspecified future, and the world has turned into the tritest, most derivative dystopia imaginable.
It has everything! Corporate overlords, genetically engineered slaves, cannibalism, giant totalitarian conspiracies, cutesy spelling gimmicks and neologisms, anything you could want!
It's so horrifically transparent it makes Snow Crash look like a masterpiece. It's even set in Corea. The final one is obviously the obligatory post-apocalyptic one, where the protagonist of the last one is worshipped like a goddess.
It would be merely tedious if not for the ridiculous and completely unnecessary apostrophes everywhere, which render it actively obnoxious and pretty much unreadable.
Initially, at least, because Mitchell doesn't have the attention span needed to keep it up for a whole chapter. So yes, if this isn't a deliberate hoax, it's a violently shit novel and a new low in post-modern self-indulgence.
I'm not at all surprised at the reviews it's received either way. On re-reading in I admit, the surpringsingly-and-terrifyingly-not-awful trailer for the upcoming movie adaptation of this book sent me plunging back into its hexapalindromic universe to re-solidify my own mental renditions of Frobisher's bicycle, Sonmi's soap packs, and Lousia's imaginary California, among other things.
I emerge even more impressed with Mitchell's mimetic acrobatics, the book's deft allusive integument "Is not ascent their sole salvation?
I kept wishing Lousia or Cavendish or someone one would say "Be excellent to each other. Party on, dudes! This book grants me one of the greatest pleasures a book can: it restores profundity to a hackneyed truth.
If you're not into Mitchell's prose, characters, or fancy-schmancy structure, though, you might just end up with the hackneyed bit.
The other five all deal directly with humanity's inclination toward subjugation that Dr. Goose summed up with his law, "the weak are meat the strong do eat," but the Zedelgem story is different.
Robert is stealing from Ayrs in a very material way, but this theft is ancillary. His manipulation of Ayrs and the Crommelyncks, while selfish, is also not entirely one-sided.
Ayrs and Frobisher are playing each other, almost equally, and not entirely for the purpose of self-aggrandizement but in the service of music, which they both seem to perceive as a force beyond their own persons.
Jocasta is similarly playing Robert for pleasure but also for her husband. I suppose these battles of wills provide the tension that keeps the story flowing, but they still seem WAY different than Maori slave-makers and brainwashed fast food servant clones, and different in kind, not just in scale.
I like the fact that it's different I think the moral refrains in the latter half might have become a bit tiresome without it , but I wonder if there's a reason for its uniqueness.
Perhaps Mitchell planned to play up the manipulation aspect but couldn't bring himself to fully damn a man with a quest so similar to his own.
Actually, I have. What I meant to say is that I've read nothing so marvelously epic since then.
As usual, my attempts to explain it to people have met with polite nods and changed subjects, but let me try: the book is like 6 perfect little novellas, arranged as Russian matroyshka dolls, and as you read, you bore in, and bore back out.
Each doll is a different period in time, the outermost being in the early 19th century, the latest being somewhere around I think. Four of the six are out and out genre pieces: historical maritime fiction, crime novel, dystopian scifi, and post-apocalyptic scifi, with all their various tropes rendered with loving affection.
But they are just written, so, well that they are simply irresistible. I only wish I could find single genre novels that were as perfectly crafted as a single portion of this book.
The pieces placed in the s and the present day are also wonderful, but certainly aren't the type of fare I normally seek out. But yes, exceedingly well written.
What's it about? The characters of each story find themselves reading their predecessor, and sometimes characters overlap a very, very little.
Each story features a character with the same birth mark, and they all seem to experience deja vu from characters in other stories.
Now it sounds corny. But I swear to you, it is cool. I guess the book is primarily about the will to power.
Slavery and subjugation, small personal cruelties, corporate greed. It's sort of like the anti-Fountainhead, except much more fun to read.
I don't know. Dissecting fiction about giant apes comes much more naturally to me. Please read this book so, at the very least, you can explain it to me.
View all 38 comments. Aug 06, Kris rated it it was amazing Shelves: , favorites , contemporary , five-stars , fiction.
All autumn, with the release date of movie adaptation of Cloud Atlas fast approaching, interest in the novel among my Goodreads friends has been high.
I have not seen many subdued reactions. Detractors have dismissed Cloud Atlas as gimmicky, a work by a much-hyped writer who is showing off his style but neglecting to anchor All autumn, with the release date of movie adaptation of Cloud Atlas fast approaching, interest in the novel among my Goodreads friends has been high.
Detractors have dismissed Cloud Atlas as gimmicky, a work by a much-hyped writer who is showing off his style but neglecting to anchor it in themes of substance.
And some readers simply found his shifts in voice tedious. I recently re-read Cloud Atlas s, bearing in mind both reactions to the novel.
I also remembered my first time reading it. I delighted in tracing connections and interconnections among the different sections of the novel.
Mitchell structures Cloud Atlas as follows: six novellas are organized in chronological order. The first five break off abruptly in the middle of their respective stories.
After its conclusion, Mitchell moves in reverse chronological order through the remaining five novellas, bringing each to a conclusion, but also providing numerous points of connection and resonance among all six novellas.
With my second reading of the novel, I delved deeper than focusing on its structure. I focused on themes. Did Mitchell have the content to support his style and technique, or was Cloud Atlas all style and no substance?
He researched them and visited the Chatham Islands as well. The Moriori appear in Cloud Atlas , as Ewing meets them and attempts to come to terms with the many forces that overpower them: Western missionaries in search of souls, whalers in search of profit, and Maori exercising their power over the Moriori through force.
How are we shaped, not only by what we remember from the past, but also by what we forget or rework? Why is it so important for us to be able to tell stories about the past, and to know the conclusion of those stories?
Moriori people, Spirit Grove- Hapupu, Chatham Islands As a novelist, Mitchell explores these questions while also paying homage to different genres of writing, and in some cases specific books that were particularly inspiring to him.
See the Washington Post interview linked above for a list of these influences. However, these voices are not simply an opportunity for him to demonstrate his ability to shapeshift as a writer.
In doing so, he considers the knowledge these cultures retained and the knowledge they lost from the past. I felt like an ethnographer, listening carefully to stories told by an informant from a very different world, and finding clues to recreate that world.
That quest to understand, and the impact of discovering points I had in common with Zachry, speak to a larger theme -- continuity in some aspects of human culture over time, and the necessity of preserving and understanding the past as much as possible, even as it recedes from us in time.
We think of an atlas as a book that guides us through unfamiliar terrain and captures the contours of mountains and valleys, the depths of seas and lakes.
An atlas of clouds suggests something much more ephemeral -- clouds are constantly moving, shifting, transforming, and eventually dissipating into the ether.
Even as we try to capture the past in works of history, literature, and art, we change and transform its meaning to fit our present. In the Luisa Rey story, the engineer Isaac Sachs outlines this view of history as he takes notes during a plane ride:.
He who pays the historian calls the tune. This virtual future may influence the actual future, as in a self fulfilling prophecy, but the actual future will eclipse our virtual one as surely as tomorrow eclipses today.
Throughout Cloud Atlas , Mitchell develops this depiction of the interplay of the actual and virtual past and the actual and virtual future in shaping the present.
In doing so, he leaves the door open for societies to shape their actual futures through this process of creation and reinterpretation. However, one important limitation on their ability to do so for the better is the ubiquitous influence of power dynamics across human societies, past, present, and future.
This needn't be as bleak as it sounds -- a consequence of getting can be giving, which presumably is what love is about.
Once I had these two ideas for novellas, I looked for other variations on the theme of predatory behavior -- in the political, economic and personal arenas.
Anthropologists such as Marcel Mauss in The Gift have explored the role of gift exchange in fostering relationships, and in determining power dynamics, in human societies.
Historians have looked at these elements from a broader perspective, particularly in studies of colonialism in the early modern and modern world.
Investigative reporters uncover instances of the abuse of power, as measured by wealth and influence.
Wherever we turn, our past and present are shaped by power relations and the desire to possess -- wealth, political influence, land, beautiful objects, and people.
What does this mean for our future? In Cloud Atlas , Mitchell explores power in many manifestations. Peace, though beloved of our Lord, is a cardinal virtue only if your neighbors share your conscience.
The will to power, the backbone of human nature. The threat of violence, the fear of violence, or actual violence is the instrument of this dreadful will.
You can see the will to power in bedrooms, kitchens, factories, unions, and the borders of states. Listen to this and remember it. The nation-state is merely human nature inflated to monstrous proportions.
QED, nations are entities whose laws are written by violence. Thus it ever was, so ever shall it be In corpocracy, this means the Juche.
What is willed by the Juche is the tidy xtermination of a fabricant underclass. Meronym provides a cautionary perspective on the future that may await us in our zeal to acquire power in all its forms: The Prescient answered, Old Uns tripped their own Fall.
More what? Oh, more gear, more food, faster speeds, longer lifes, easier lifes, more power, yay. Luisa Rey presents another form of power: that of public outrage, driven by the media, which can provide a counterweight to greed that acts against the public interest.
However, what happens when the media is co-opted by the same corporate powers which it should be scrutinizing? The corporations have money, power, and influence.
Our sole weapon is public outrage. Outrage blocked the Yuccan Dam, ousted Nixon, and in part, terminated the monstrosities in Vietnam.
But outrage is unwieldy to manufacture and handle. First, you need scrutiny; second, widespread awareness; only when this reaches a critical mass does public outrage explode into being.
Any stage may be sabotaged. The media—and not just The Washington Post —is where democracies conduct their civil wars. After considering the kaleidoscope of human power and greed in Cloud Atlas , are we left with any hope for the future, or is Mitchell leaving us with a pessimistic prognosis?
Cloud Atlas provides a staggering exploration of different manifestations of power and greed over centuries of human history: colonialism, missionary activity, 19th-century whaling, the modern quest for fame and fortune, and corporate greed, to name a few.
In spite of these dark depictions of the negative influence of the human quest for power, Mitchell does provide some hope that individuals can and do make a difference.
Luisa Rey and her allies uncover the publicize the deception and danger of Seaboard Power Inc.. Zachry and Meronym band together and manage to survive plague and attacks from the Kona.
Sonmi sacrifices herself for the good of the fabricants, and lives on in the religious practices of the Old Uns and the studies of the Prescients.
I am not deceived. It is the hardest of worlds to make real. A life spent shaping a world I want Jackson to inherit, not one I fear Jackson shall inherit, this strikes me as a life worth the living.
Just as Mitchell channels his concerns about his son's future through Ewing's words, so does he provide us with a clear sense of how critical our individual choices are in shaping our own children's future.
Individuals are not swept aside by the forces of history--one by one, we make up these forces. The actual future of our species and our planet is in our hands.
Will we act for a just world, or sit back and contribute to the demise of our planet through inaction, or greed, or cowardice?
These pivotal questions, and this critical choice, give Cloud Atlas its power. Jan 17, karen rated it really liked it Shelves: distant-lands.
Sep 05, Nataliya rated it really liked it Recommended to Nataliya by: Kris. Shelves: hugo-nebula , reads. I was a third into this book and I could not care less about it.
It didn't seem we were meant to be. Then suddenly my heart was aching for the characters and their stories, and it did catch me by surprise.
And now it's been a week since I finished it, and I still find myself thinking about it. You've wormed your way into my heart and I'd better make my peace with it.
Why did I resist liking it so much? Why did this book and I have such a rocky sta I was a third into this book and I could not care less about it.
Why did this book and I have such a rocky start to our relationship? Sheesh, let me think about it as I lie here on the imaginary psychiatrist's couch in Freudian times.
You see, its 'revolutionary structure' and all - it is basically six stories, five of which are arranged like concentric rings around one central uninterrupted story, slowly moving from A to Z as the stories go along from Adam to Zachry , - leads even the author to question, "Revolutionary or gimmicky?
Jarring, unnecessary, trying too hard and yet being needlessly distracting. Hey, you can also compare this book to the rings a raindrop makes in still waters.
See, I can be allegorically poetic when need arises. Would I have been easier for me to love it had it come simply as a collection of six stories related by the larger overarching theme?
But we cannot always chose what the things we love look like, can we? Sometimes they just have to have that incredibly annoying anvil-heavy comet-shaped birthmark, and I have to make my peace with it.
They are never properly extinguished. What sparks wars? Thus it ever was, so ever shall it be. War, Robert, is one of humanity's two eternal companions.
About the never-ending power struggle that seems to be inherent to humanity, that drives it forward - until one day it perhaps drives it to the brink of demise.
It's about the amazing resilience of humanity that bends but never breaks under the never-ending forward march of the power struggle.
It is about our seemingly inevitable separation into the opposing camps - the oppressors and the oppressed, the powerful and the powerless, the haves and the have-nots, justifying those sometimes murky and sometimes crisp division lines with the arbitrary but hard-to-overturn notions of superiority and entitlement.
It is also about the never-ending human struggle against such division, in one form or another. Maoris prey on Moriori, Whites prey on darker-hued cousins, fleas prey on mice, cats prey on rats, Christians on infidels, first mates on cabin boys, Death on the Living.
The weak are meat, the strong do eat. See how smart I am? Can I please have a cookie now? The revelations at which both Adam and Zachry arrive are simple and perhaps overly moralistic, but still relevant and humane.
And despite the moralistic heavy-handedness, I loved them. Because of this: — one fine day, a purely predatory world shall consume itself.
Yes, the Devil shall take the hindmost until the foremost is the hindmost. In an individual, selfishness uglifies the soul; for the human species, selfishness is extinction.
I hate to say it, but Robert Frobisher's story the composer of the titular Cloud Atlas musical piece left me cold. Luisa Rey's pulpy cheap prose held my attention only for the first half of the story and Timothy Cavendish's flowery adventure - only for the second.
Sonmi for the first half of the story was delightfully reminding me of The Windup Girl that I loved, and fell flat in the rushed second part.
It almost felt that some of these stories were too large for the limited amount of space Mitchell could give them, and they would have been benefited from expansion.
But the Sloosha Crossing story - Zachry's tale - won me over completely, once I got over the migraine induced by overabundance of apostrophes in this futuristic simplistic dialect.
S'r's'l'y', Mr. Mitchell, there had to have been some perhaps less 'authentic' but also less headache-causing way to tell this story. But I got over the initial defensive response and allowed myself to enjoy this scary postapocalyptic setting which in so many ways reminded me of The Slynx by Tatiana Tolstaya.
There is just something that I love about the postapocalyptic primitive society setup, something that speaks to me while terrifying me to death at the same time, and this story had plenty of that.
And now, apparently, there will be a movie, which explains why everyone and their grandma is reading this book now, getting me on the bandwagon as well.
The movie, that from the trailer seems to be focusing on the part that made me eye-roll just like it made Mr. Cavendish, editing Luisa Rey manuscript!
I thought the hints at it were unnecessary dramatic; to me enough of a connection came from all of the characters belonging to our troubled and yet resilient human race.
But to each their own. And maybe someday in the future I will reread it being prepared for the gimmicky structure, and I will not let it annoy me, and I will maybe give it five stars.
I would love that! View all 84 comments. Apr 19, Jason rated it it was amazing Shelves: , reviewed , for-kindle , thrill-me-chill-me-fulfill-me.
At the Museum of Science in Boston, there is an exhibit just outside the doors of the Planetarium that demonstrates—through a series of adjacent panels—the scale of the Earth in relation to the universe at large.
Reading Cloud Atlas is like zooming out from a point on the Earth to the edge of the universe and then back in again, as represented by those aforementioned panels.
Do we need a visual aid? This novel, of course, has little to do with the cosmos, but the analogy is fitting for describing the vastness of its scope.
The novel then goes even further into the future, so far in fact that it becomes indistinguishable from the past, and like the reverse zoom in the video above, the novel collapses back in on itself, ending exactly where it began.
Throughout history, humans have enslaved each other on the basis of skin color and racial background, religious beliefs and cultural or ethnic differences.
The weak have been enslaved to the strong, the old to the young, and the poor to the well-to-do. This novel goes a step further by exploring the concept of knowledge and how it relates to the socioeconomic hierarchy of the future.
Knowledge is all that separates us from savagery, and yet it is our most transient asset. I am probably making this book sound like a course in sociology, though it is anything but.
Cloud Atlas is a brilliantly constructed novel delineating the cyclicality of human civilization and it is written by someone who has immediately become one of my favorite authors.
Unable to choose among the various genres of fiction available, he ends up Cloud Atlas is historical fiction, it is a dark comedy, it is a crime thriller, it is science fiction, it is a post-apocalyptic dystopia.
The middle chapter, while the most difficult to read, is easily my favorite. However, this quest is a double-edged sword that becomes its own downfall, since domination is a self-defeating goal, and it is this downfall that ultimately causes civilization to collapse.
May 08, Fabian rated it it was amazing Shelves: favorites. One of the most outstanding, hugely epic literary sagas ever.
Mitchell is authentic in every story. These really are "found objects" placed in blatant, cunning contrast with each other.
But that they were all borne from one fountainhead--from one single and chameleonic probably the most cham One of the most outstanding, hugely epic literary sagas ever.
But that they were all borne from one fountainhead--from one single and chameleonic probably the most chameleonic I have encountered since Peruvian Mario Vargas Llosa's mind--this is the reason the novel is now a classic.
View all 20 comments. Dec 05, Lyn rated it it was amazing. I mean he'd have to be ten times more charmin' than that Arnold on Green Acres, you know what I'm sayin'?
Jules: Cloud Atlas? Jules: Explain. Jules: Go on. Jules: Reincarnated? But … that may be something upon which I can ponder as I walk the earth.
Vincent: Right, but then, see, he goes back and finishes all six stories, going back from future Hawaii, to the Chinese girl — Jules: Thought you said she was Korean?
Vincent: Whatever, then to the old guy, then the girl in California in the 70s to the English musician and then back to the dude in the s.
Jules: Alright, I can see that. That is pretty cool, kinda familiar too. Vincent: Right, right, and by doing so the writer creates a dramatic tension between each segment, adding depth and interest to an already cool story.
Pumpkin: [Standing up with a gun] All right, everybody be cool, this is a robbery! View all 40 comments.
Sep 24, s. Shelves: literary-pulp , metafiction. Here you will encounter six stories, linked across time, that, like individual notes of a chord, each resonate together to form a greater message than just the sum of their parts.
He protested, saying that you can only have one or the other. I agreed with him that this is typically the case, yet I insisted that Cloud Atlas was the exception to this rule.
While each individual story has an exciting plot full of unexpected twists, often incorporating a Hollywood action or sci-fi style, Mitchell manages to elevate the novel into a higher realm of literature.
Mitchell, who studied English at the University of Kent, receiving a master in Comparative Literature thanks wiki! There is also a sense of an evolution of language, showing past trends progressing into our current speech, and then passing forward where corporate name brands will become the identifier of an object all cars are called fords, handheld computers are all called sonys, all movies are called disneys , and then even further forward as language begins to disintegrate.
The themes of the novel also seem to move in a cyclical pattern, showing repeating itself. As stated earlier, Mitchell was inspired by Calvino's If on a winter's night a traveler in which the Reader is exposed to several different novels within the novel, each with a very distinct voice and style, only to be forever thwarted from finishing just as the action rises.
Mitchell takes this idea and expands upon it, with each story ending abruptly yet still resonating in the following story, which then leads us to the next and the next until finally we reach the midpoint of the novel.
I do not want to spoil too much of this novel, especially his way of each story being a part of the next, but by page 64 you will understand. There will be a paragraph that will drop your jaw and melt your mind as you realize Mitchell has something special here in his method of telescoping stories.
Essentially, each major character leaves an account of a crucial storyline of their lives, which in turn is read or viewed later through history by another character during a crucial moment in their lives.
An added flair is that many of the characters relate to their current events by comparing it to characters or ideas from previous stories, one character even becoming a deity figure to future generations.
There is a good interview with Mitchell in the Washington Post where he explains his methods. Mitchell employs other metafictional techniques, such as having his characters each reflect on the style of the novel as would make sense for their unique world.
In the first set, each solo is interrupted by its successor: in the second, each interruption is recontinued, in order.
Revolutionary or gimmicky? Mitchell himself calls the style to the table, asking the reader if it is really a revolutionary idea, or if it falls flat as a gimmick.
There are many instances where Mitchell inserts a bemused reflection on his own work, wondering if he is actually pulling off the magic trick. Each story visited is as if cracking open the cover of a different book by a different author each time the switch occurs.
Mitchell does his homework and spent plenty of time researching each story to make sure the history, setting and language would all be realistic. As all but the spy-thriller story of Luisa Rey are told in first person, Mitchell has his work cut out for him to craft a unique voice for each narrator.
And he pulls it off brilliantly. This attention to detail and nuance is what really sold me on Cloud Atlas.
Mitchell toys with his knowledge of literature, molding each story from the recipes of classic literature. There are even small events that trigger a memory of classic works; Frobisher is passenger in a car that runs down a pheasant which is described in a way that would remind one of a certain accident involving a yellow car at the tail end of a Fitzgerald novel.
He even takes a jab at Ayn Rand in the Luisa Rey story. Mitchell seems to intentionally build this novel from other novels, and highlights this to the reader most openly through Timothy Cavendish and Robert Frobisher.
This honing of metafictional abilities is one of his greatest strengths and the second half of the novel is full of passages that speak on many different levels.
He uses this as opportunities to shamelessly quote, allude, and incorporate the ideas of other writers. While allusions are used for thematic reasons, some are more deeply hidden, sometimes in plain sights as Nabokov titles are used frequently, and occasionally he simply alludes to authors of each stories present time Luisa Rey's boss was mugged after having lunch with Norman Mailer to make them feel more rooted to the literary culture of the time much as he does with the language and descriptions.
Mitchell appreciates and rewards the well-read reader with many of these subtle ironic jokes which are sprinkled all through-out the novel.
He leaves so many little gems for a reader to find if they only take the time to read in between the lines and pay close attention.
Bill Smoke pure evil and Joe Napier an ally seem to pop up in some form in every story. I have noticed at least four other souls that seem to migrate through time in this novel.
Like a healthy, well-balanced sense of self, Mitchell seems to be aware of his weaknesses as a writer and actually uses them to his advantage, making his weaknesses some of his biggest strengths.
It is clear, as the point has by now been driven into the ground, that Mitchell has aims to be taken seriously as a writer of literature, but his plots are such rapid-fire excitement with twists and turns and high climactic conclusions that he felt it necessary to be as literary as possible in all other aspects.
He compensates for any other shortcomings in a similar fashion. One of the ways the characters are linked together across time read it yourself if you want to know!
I got a kick out of this and instantly forgave Mitchell for not being subtle enough with this technique of linking characters.
There are several other moments when characters question the validity of other characters, often due to the same reasons a reader would criticize Mitchell.
This ability to poke fun at himself and openly address his own shortcomings gave me a far greater respect for him.
He accepts that his ideas are not entirely original and counters anyone who might complain it has all been done before. It made me laugh.
With all his cleverness and metafictional genius, Mitchell does have a few flaws that should be addressed. The main one being subtlety.
He does apologize for it and poke fun at himself, but some of the major themes in this novel did not need to be called out directly.
They were easily detectable in between the lines, yet Mitchell has each main character spell them out in dialogue. It worked since he had each character do it, applying the message of The Will to Power and the strong killing the weak to each characters situation to create a sense of symmetry, but it was ultimately superfluous, but this being my only real criticism, Mitchell isn't doing too bad.
The issue of subtlety is where Calvino gets an upper hand on Mitchell, as his novel was a bit more controlled in its message and layering of meanings.
Cloud Atlas is a bit more accessible than If on a winter's Both novels should enter your "to read list" however.
All in all, this novel is a brilliant puzzle filled with exciting characters, entertaining dialogue, and throws enough loops to keep you guessing.
You will find it very difficult to put this novel down. Mitchell achieves his goal of transcending conventions and addressing the broad scope of humanity and is at times bitter, funny, frightening, paranoid, and downright tragic.
Make sure to have a pen handy, as there are plenty of mesmerizing quotes to return to and ponder, especially in the second half of the novel.
David Mitchell is most definitely an author to be read and admired. Mitchell gives us this novel as a warning, and I do hope we take it to heart. I wish this novel had credits like at the end of the film just so Reckoner by Radiohead could blast my eardrums as final lines sunk in.
It would be perfect. Dec 01, Ahmad Sharabiani rated it really liked it Shelves: book , fiction , 21th-century , science , british , literature.
The first five stories are each interrupted at a pivotal moment. After the sixth story, the others are closed in reverse chronological order, with the main character reading or observing the chronologically earlier work in the chain.
Each story contains a document, movie, or tradi 13 From Books - Cloud Atlas, David Stephen Mitchell The book consists of six nested stories; each is read or observed by a main character of the next, thus they progress in time through the central sixth story.
Each story contains a document, movie, or tradition that appears in an earlier story. View all 12 comments. Ahmad Sharabiani India M.
Do you think it was used to create confusion Ahmad? Amr Soliman you are welcome my big brother Nov 02, AM. Sep 20, brian rated it it was ok.
View all 59 comments. May 30, Cecily rated it it was amazing Shelves: scifi-future-speculative-fict , mitchell-uber-book , time-travel , miscellaneous-fiction.
Imagine six very different short books, each open at roughly the middle, then pile them up - and that is the structure of Cloud Atlas story 1a, 2a, 3a, 4a, 5a, 6, 5b, 4b, 3b, 2b, 1b.
This is a close lifting of what Calvino describes in If on a Winter's Night a Traveler : "the Oriental tradition" where one story stops "at the moment of greatest suspense" and then narrative switches to another story, perhaps by the protagonist picking up a book and reading it.
The structure of the film is entirely different: it cuts between all six stories repeatedly, which emphasises the parallels in the different stories.
In the medium of film, I think it works quite well - if you already know the stories. Each story is a separate and self-contained tale, told in a different format, voice and even dialect, but with similarities in theme and some overlapping characters.
Connectedness and possibly reincarnation are perhaps the most obvious - and the themes themselves are often connected with other themes.
Connectedness is much the strongest theme in the film, partly through rapid switching between stories to emphasize the parallels, and also because the same actors are used in multiple stories.
He has a wealthy and educated background, but has been cut off from his family, so is in Belgium Edinburgh, in the film! Frobisher is an unscrupulous opportunist very unlike Adam Ewing , but not without talent.
He is broke and either in trouble with mysterious forces or paranoid. In the film, this section looks stunning, but the underlying philosophy is largely ignored.
There are plenty of nods to Orwell, Huxley and others — even to the extent that Somni mentions reading them. She has a distinctively poetic voice, which lends beauty to the section of the book, but causes problems for her: a fabricant that is as eloquent as a pureblood creates unease.
Then one of the Prescient, Meronym, comes to stay for six months. She wants to learn and observe, but many of the islanders fear her motives.
Zachry is keen to explain himself and to learn from her. The deeper question in this section is who is exploiting whom there is also a warfaring tribe, the Kona?
When one character writes notes comparing the real and virtual past p , the levels of stories-within-stories and boundaries of fact and fiction are well and truly blurred, which is part of what this whole book is about.
Is Luisa "real" in the context of the book? She doesn't always feel it, but there is a direct link between her and another character. Now the bifurcation of these two pasts will begin.
However, the relationship between blacks and whites and even between man and wife exemplify the unequal power relationships that are common to all the stories.
Adam dreams of a more utopian world, though. Some people seem to dislike or struggle with this aspect, but I think it adds depth, interest and plausibility.
There are neologisms, too: facescaping extreme cosmetic surgery , upstrata posh , dijied digitised. Perhaps more surprisingly, a few words have simplified spelling: xactly, xpose, fritened, lite mind you, that is already quite common , thruway.
Luisa 3 sees Ewing's 1 ship, The Prophetess, in a marina. A film about Timothy Cavendish 4 is watched by Somni 5. She also has a memory of a car crash perhaps like Luisa 93?
Mind you, the first time I read it, I expected it to be Zachry who had it. There is also a character in Ghostwritten see below with such a birthmark.
Luisa Rey 3 and Timothy Cavendish 4 appear in Ghostwritten. Vyvyan Ayrs 2 's daughter is an old woman in Black Swan Green. What do we mean? One is Lack of Velocity.
The forces that really kick ass are all invisible. A novel comprising six interlocking tales on the theme of connectedness and predacity few likeable characters, though certainly some interesting and amusing ones.
The idea is that souls drift through time and space and bodies , like clouds across the sky. As one character learns the story of another, the layers of fiction meld: which are "fact" within the overall fiction?
Each story has a totally different style, appropriate to its time, genre and supposed authorship. One crucial but evil corporation is a fast food place with a golden arches logo - I hope Mitchell's lawyers checked that was OK!
Hey readers Look at the book you're reading Now back at the book you're reading Sadly, that book was probably not written by me. But if you'd check out my book, Cloud Atlas , you'd know that I could have written it if I just wanted to.
Look back at the book Who's that? That's me, the author of Cloud Atlas , which is the book you could have been reading. What's in your hand?
It's Cloud Atlas , which is a historical novel about a pacific Hey readers It's Cloud Atlas , which is a historical novel about a pacific voyage all the way back in the 's.
Back at me. Now back at Cloud Atlas. Look, it's now a thriller. And look again. Cloud Atlas is now science fiction.
Anything is possible when a book contains several stories inside Cloud Atlas is arguably David Mitchell's all right, I'll stop pretending - that's him in the pictures most famous novel - and if it isn't, it certailnly will be after the Wachowskis will turn it into a big budged movie - the trailer is not that bad looking.
The novel itself is critically acclaimed - it won the British Book Awards Literary Fiction Award, and was shortlisted for the Booker Prize and even nominated for two of the prestigious awards given to works of science fiction - the Nebula and Arthur C.
Clarke award. So what should we, the readers, make of Cloud Atlas? By now, probably everyone interested in reading it has heard that it's composed of six different storylines, all of which interact with each other in some way.
The single most impressive thing about the novel is the fact that the author adapts a unique narrative voice for each of these sections, making Cloud Atlas a feat of literary ventriloquism.
The six storylines are also different in structure, setting and timelines. The Pacific Journal of Adam Ewing opens the novel: set around , the journal is a first person account of a south Pacific journey of the naive Adam Ewing, who finds himself ashore on the Chattam Islands near New Zealand.
He falls sick, and seeks help from a suspicious doctor who looks at his money with hungry eyes, and also learns a bit of the native history: the enslavement of the Moriori by the Maori.
Letters from Zedelghem is the next sequence, and as the title suggests it's epistolary. The titular letters are written by Robert Frobisher to Rufus Sixmith.
Frobisher is a completely broke English musician who buys his daily bread by being a hired hand for a Belgian composer - Ayrs.
Despite the implications that Sixmith is his lover, Frobisher starts an affair with Ayr's wife and it does not help that Ayrs also has a young daughter.
Half-Lives: The First Luisa Rey Mystery is the next section which tells the tale of Louisa Rey, a journalist who follows the lead that some nuclear plants are unsafe and can blow up the world: of course there are people who do not wish for this information to be made public.
Dressed up as a thriller, it is definitely the most fast paced section of the novel and does a convincig job at passing as a grocery store rack paperback novel.
The Ghastly Ordeal of Timothy Cavendish is probably my favorite section: 65 year old Timothy Cavendish is a vanity publisher who gets himself into trouble with one of his clients who happens to be a gangster and has to lay low for a while; His brother arranges a safe place for him to go to.
Only when he arrives he discovers that the hideaway is a nursing home; Cavendish is an extremely likeable old codger and lots of hilarity ensues as he attempts to break free.
It gets downhill from here. Overused dystopian tropes abound: Far future, immensely opressive totalitarian society, corporate overlords, genetically engingered slaves cannibalism!
To top the cake it is set in futuristic Korea, complete with "the Beloved Chairman" who is in control of All Things. Not very, um, subtle, you know.
Sloosha's Crossin' an' Ev'rythin' After or Trainspotting in Space continues with the science fiction theme, and is set in post-apocalyptic Hawaii.
Humanity has been almost completely wiped out during "The Fall". Zachry, the protagonist, is an old man recounting his teenage years, when he met Meronym, a member of a former advanced civilization.
The section overuses apostrophes to an almost ridiculous extent, making me regret ever complaining about the simplicity of spelling changes in the Somni section.
The style hangs over the content unmercifully, like a sharp sword, ready to drop at any moment to cut your reading enjoyment - and does exactly that, all the time.
After Slosha we return to the preceding stories yet again, this time in the reverse order, going back in time: Beginning with futuristic tale of Somni and ending with the concluding entries of the journal of Adam Ewing, in the 's.
So what is the big deal? The structure. However, I found these connections to be sketchy at best: For example, Ewing's journal is conveniently found by Frobisher at a bookshelf of his Belgian employer; Rufus Sixmith, the addressee of Frobisher's letters just happens to be a whistleblower collaborating with Louisa Rey; Louisa Rey's story is a manuscript that Cavendish is offered for publication; Cavendish's goofy adventure is a Disney romp watched by Somni in the far future, and Somni herself is a goddess worshipped by Zachry, who knows her story from a futuristic recording device.
There are further attempts to stitch these stories together - a recurring birthmark, one character seemingly remembering a piece of music from another time, the recurrence of the number six - six stories, a character named Sixmith who is If the "nested dolls" analogy passed you by, the author has Isaac Sachs, an engineer how appropriate!
Frobisher's musical masterpiece to be is called The Cloud Atlas Sextet , which he describes as: "a 'sextet for overlapping soloists': piano, clarinet, 'cello, flute, oboe, and violin, each in its own language of key, scale, and color.
In the first set, each solo is interrupted by its successor; in the second, each interruption is recontinued, in order.
It seems to me as if the author did not trust his readers and had to spell out his game in fear of being misunderstood, or worse: the trick going unnoticed.
He also seems to see critics coming, and in the next sentence Frobisher thinks about his work: "Revolutionary or gimmicky? Shan't know until it's finished, and by then it'll be too late.
Sometimes it's done in an almost humorous way: Timothy Cavendish mutters that "Soylent Green is people", and that some geeks must be "Cloning humans for shady Koreans" - which is exactly what happens in the Somni section.
Revolutionary or Gimmicky? For this jury Cloud Atlas does not have what it takes to be revolutionary, meaning something The structure of the novel appears to be complex at the first glance, but during actual reading shows itself as not overly complex, and the author makes sure that the reader will understand it.
The stories themselves are not strong enough to stand on their own: the Louisa Rey mystery is intentionally bland, but the Orison of Somni is formulaic to the bone, where all characters are reduced to familiar stereotypes: The tyranical Big Brother regime and the opressed sentient beings who should not be capable of complex thought but are, which dates back to Yevgeny Zamyatin's brillian novel We , which has been written in To give the author credit the dystopian formula has been firmly estabilished and exploited - currently especially on the young adult market and it's quite difficult if not downright impossible to come up with any innovations: especially if there's a set limit on the lenght of the piece which hardly allows for any worldbuilding, forcing the author to work with the barest minimum.
The recurring theme of Cloud Atlas is enslavement and exploitation of human beings. Ewing is exposed to enslavement of one tribe by another and is forced to decide the fate of a person; penniless Frobisher is forced to leave England for Belgium, where he is drawn into a net cast by an aging composer, who wants to exploit his talent; Louisa Rey is fighting the capitalist ubermench who do not care about the dangers of a nuclear reactor.
Tinmothy Cavendish has to escape from dangerous people and literally becomes enslaved in a home for the elderly; Sonmi is a genetically enginereed fabricant who was made to be used.
Throughout the ages, the weaker are controlled, abused and exploited by the stronger, who want even more riches and strenght.
Does Cloud Atlas offer a new look at it? The book opposes the notion of survival of the fittest, where "the weak are the meat that the strong eat" - and this is obviously wrong.
But in the year when it was published did we not know that already? The dangers of capitalism and the money-oriented western civilization, its contemporary face being the Louisa Rey sections and the gloomy vision of the future shown in the Orison of Somni; the post-colonial white guilt for which the vessel is the character of Adam Ewing.
Adam Ewing seems to exist to only espouse this notion; after being rescued by a Noble Savage he is told about the bloodthirst of the White Race by the Doctor who is the Evil character since this is how he was estabilished to be.
The morality play hits home and Ewing decides that the way the world is is Wrong and there is worth in striving for a seemingly impossible Change where everyone is Free.
This storyline is not bad by default, but it is hardly original and there is hardly any place for ambiguity; I was surprised at the comparisons with Benito Cereno , which is probably my favorite work by Melville along with the brilliant Bartleby, the Scrivener - which is also about individualism and freedom, but in a completely different manner.
The genius of Melville's work lies in its ambiguity: it has been praised and criticized because of it, as various readers read it either as a racist work in support of slavery, while other readers read it as an anti-slavery text in support of abolition.
There is little if any of this in Adam Ewing's journal; of course it's wrong to own another human being as property, and most of the humanity came to agree on this Melville's work was written in , when abolition was a controversial and dangerous issue; even though Adam Ewing's journal is set in that time period, we can't forget that it was created in the 's.
There is not enough originality or exceptionality to it, and solely by attempting to stress the human freedom it borders dangerously on the banal repetition of something done earlier and better.
The author is at his best in the narratives of Frobisher and Cavendish, where he handles two drastically different characters with skill and verve.
Both are Englishmen, though of different times and of different age and profession: Frobisher is young, cynical, cunning, brash and unapologetic; Cavendish is elderly, sheepish, slow and silly.
It is in these two narratives where the author's talent really shines; he writes with panache and flamboyance, and his whimsical humor is contrasted with rawness and emotion.
Frobisher's egoism and frustration are off-putting, and yet the reader cannot help but feel some sympathy for his character and wish him good in creating the work of his life; Cavendish's geriatric adventure is surprisingly rollicking and full of charm.
It is their stories which work the best in this book, and are the most affecting and memorable. On the whole, Cloud Atlas reads more as an exercise in trying to write stories in different genres and styles, and then weaving them together; ultimately, it does not really work.
The majority of the stories are not strong enough to stand on their own, and there is not enough to bind them together; even the two stories I enjoyed suffer from being just a part of the whole which doesn't really work.
It lacks the profundity and depth it needs to be an important work; a more vicious critic would say that the author arranged his stories like matryoshkas to hide his inability to offer meaningful and perceptive insights into the human nature.
I doubt that Cloud Atlas is such a case, and because of this I can't wish it would have been all that it was said to be, profound and meaningful, offering a fresh approach to the subject which is so important.
But what can you say about things on which so many said so much over the centuries? Like clouds, Cloud Atlas eventually disperses, leaving in memory snapshots of its elements, and not the whole.
View all 69 comments. Apr 10, Vit Babenco rated it it was amazing. Tomorrow I will never see, though I have no wings I fly free.
Of what I dream no one can know, I am but a container for a rainbow. Stories are clouds… The same story told by a different raconteur changes form and it may also change a meaning.
As every watermelon contains seeds out of which new watermelons can be grown so every story contains seeds of other stories… And the present contains seeds of the future… Yet what is the world but a multitude of stories?
View all 25 comments. Cloud Atlas is layered, complex, uniquely structured, occasionally puzzling, often moving, and definitely not for the faint of heart.
It's famously or infamously structured with a sextet of interconnected stories that range from the mids to the distant future.
Spent the fortnight gone in the music room, reworking my year's fragments into a 'sextet for overlapping soloists': piano, clarinet, 'cello, flute, oboe and violin, each in its own language of key, scale, and color.
In the first set, Cloud Atlas is layered, complex, uniquely structured, occasionally puzzling, often moving, and definitely not for the faint of heart.
Shan't know until it's finished. I like that Mitchell has a sense of humor about his story. Then the storyline moves back again through time, wrapping up each tale.
To use another simile, the novel is very much like a set of Russian nesting dolls that is taken apart and then put back together again.
One model of time: an infinite matryoshka doll of painted moments, each "shell" the present encased inside a nest of "shells" previous presents I call the actual past but which we perceive as the virtual past.
The doll of "now" likewise encases a nest of presents yet to be, which I call the actual future but which we perceive as the virtual future.
Despite the sometimes huge leaps in time, each story is tied to the stories before and after it by colorful threads: characters read or view each others' stories; themes resurface, showing a different face; memorable scenes--like increasingly small fruit being shot off a reluctant clone's head with an arrow--are unexpectedly reflected in a similar scene in a later story; characters experience deja vu moments that tie them to another character in a different story.
He witnesses the brutality of the Maori people toward the Moriori natives, not realizing — at first — that his own white people are often equally as brutal and predatory.
This story is told in the style of Herman Melville, which, frankly, makes for a tough start to the novel. But don't lose heart, because very soon comes: Part 2: Letters written in by a young Robert Frobisher, an amoral, self-centered, dishonest, but very funny and charming bisexual musical genius, to his friend Rufus Sixsmith.
Frobisher, disinherited and looking to escape from his debts, attaches himself as an assistant to an older, nearly blind musician, Vyvyan Ayrs, who is living in Belgium.
After a rocky start, the musical collaboration goes well, but soon problems start to surface again. Adam Ewing's journal is discovered by Robert while he is fishing around in the Ayrs' home, looking for old books to steal and sell.
Part 3: It's , and Rufus Sixsmith is now an older man who meets a journalist, Luisa Rey, in California when they're stuck together in a broken elevator.
Luisa is looking for a good story, and Rufus has some dirt on the new nuclear reactor in the area. This piece reads like a fast-moving crime novel that you'd pick up in an airport to distract you on your flight.
Part 4: In the early s, Timothy Cavendish, a something British man who is a vanity publisher, is writing his memoirs.
One of his authors who comes from a rough family tosses his worst literary critic over the side of a skyscraper, killing him.
The resulting publicity makes the author's book an instant bestseller. Though the author is in jail, his brothers come to Timothy looking for a piece of the monetary pie.
Timothy goes on the run. Part 5: Sometime in the not-too-far-distant future, in what used to be Korea, not-too-bright clones "fabricants" are used as a source of slave labor.
They are deemed to have no soul. Corporate power rules, and the slang amusingly reflects that as several trademarks are now the generic names for everyday objects people wear nikes on their feet, drive fords and watch disneys.
Sonmi is a fabricant fast food worker who is unexpectedly "ascending," gaining greatly increased intelligence and understanding.
A group steals her away from the restaurant, but what is their agenda for Sonmi? Part 6: In a far-distant future, Zachry tells the story of his adventures in his youth on the "Big I" of "Hawi" to a group of children.
Zachry's people, the Valleymen, are a no-tech, superstitious, rural people who worship the goddess Sonmi and are periodically in danger from Kona raiders, who seek to enslave them.
The Valleyman are also visited annually by the Prescients, who seem to be the one group of people who still have technology and scientific understanding.
One of the Prescients, Meronym, asks to stay with Zachry's people for a year and Zachry's family is elected to host her, much to his dismay.
In San Francisco, Ewing and his wife denounce her father's complicity in slavery and leave to join the abolition movement.
In , English composer Robert Frobisher finds work as an amanuensis to aging composer Vyvyan Ayrs, allowing Frobisher to compose his own masterpiece, "The Cloud Atlas Sextet"; Frobisher reads Ewing's journal among the books at Ayrs's mansion.
Ayrs demands credit for the sextet and threatens to expose Frobisher's bisexuality if he refuses. Frobisher shoots Ayrs and goes into hiding, using the name Ewing.
He finishes the sextet and shoots himself before his lover Rufus Sixsmith arrives. Sixsmith tips off Rey to a conspiracy to create a catastrophe at a nuclear reactor run by Lloyd Hooks, but he is killed by Hooks's hitman, Bill Smoke, before he can give her a report as proof; Rey finds Frobisher's letters to Sixsmith and tracks down Frobisher's sextet.
Scientist Isaac Sachs passes her a copy of Sixsmith's report, but Smoke kills Sachs by blowing up his plane, and runs Rey's car off a bridge; she escapes, but the report is destroyed.
With help from the plant's head of security, Joe Napier, Rey evades another assassination attempt, which results in Smoke's death.
With a copy of the report from Sixsmith's niece, she exposes the plot and has Hooks indicted. In London, , gangster Dermot Hoggins murders a critic after a harsh review of his memoir, generating huge sales.
Hoggins's brothers threaten the publisher, the aging Timothy Cavendish, for Hoggins's profits. Timothy's brother, Denholme, tells him to hide at Aurora House.
On the way, Timothy reads a manuscript based on Rey's story. Believing Aurora House is a hotel, Timothy signs papers committing himself and discovers it to be a nursing home where all outside contact is prohibited; Denholme reveals that he sent Timothy there as revenge for an affair with his wife.
Timothy escapes with three other residents, resumes his relationship with an old flame, and writes a screenplay about his experience.
In , Sonmi is a "fabricant", a human cloned for slave labor, kept as a fast food server in a dystopian Neo Seoul. She is exposed to ideas of rebellion by another fabricant, Yoona, who has obtained a clip of the movie about Timothy's involuntary institutionalization.
After Yoona is killed, Sonmi is rescued by rebel Commander Hae-Joo Chang, who exposes Sonmi to the banned writings of Aleksandr Solzhenitsyn and the full film version of Cavendish's experience.
Hae-Joo eventually introduces her to the leader of the rebel movement, and shows her that clones are recycled into food for the fast food diners.
Sonmi makes a public broadcast of her revelations before the authorities attack, killing Hae-Joo and recapturing Sonmi.
After recounting her story to an archivist, she is executed. In , the tribespeople of the post-apocalyptic Big Island of Hawaii worship Sonmi; their sacred text is taken from her recorded testimony.
Zachry Bailey's village is visited by Meronym, a member of an advanced society called the Prescients who use remnants of high technology, but are dying from a plague.
In exchange for healing Zachry's niece, Catkin, Meronym is guided by Zachry to the station where Sonmi made her recording.
Returning home, Zachry finds his tribe slaughtered by the cannibalistic Kona tribe; he kills the sleeping Kona chief and rescues Catkin before he and Meronym save each other from the arriving tribesmen.
On a distant planet, Zachry is married to Meronym and recounts the story to his grandchildren. The film is based on the novel Cloud Atlas by David Mitchell.
Filmmaker Tom Tykwer revealed in January his intent to adapt the novel and said he was working on a screenplay with the Wachowskis , [17] who optioned the novel.
The directors stated that due to lack of finance, the film was almost abandoned several times. However, they noted how the crew was enthusiastic and determined: "They flew—even though their agents called them and said, 'They don't have the money, the money's not closed.
They're pulling all of the money away, rescinding the offer. I was shaking. I heard, 'Are you saying the movie is dead? At the end of the meeting, Tom says, 'Let's do it.
I'm in. When do we start? Tom said this unabashed, enthusiastic 'Yes! We walked away thinking, this movie is dead but somehow, it's alive and we're going to make it.
It was like this giant leap of faith. From all over the globe. Some German journalists called it "the first attempt at a German blockbuster".
Tykwer and the Wachowskis filmed parallel to each other using separate camera crews. Pictures representatives agreed to the film's minute running time, after previously stating that it should not exceed minutes.
Filming began at Studio Babelsberg in Potsdam-Babelsberg , Germany , on 16 September , the base camp for the production.
Scenes were shot at Cala Tuent and near Formentor , amongst others. Henry Goose, was filmed at Sa Calobra. The film was meant to be shot in chronological order; however, Berry broke her foot two days before she was supposed to start filming.
Instead of replacing her, the Wachowskis and Tykwer heavily changed the initial filming schedule; Berry stated that "it involved travelling back and forth to Majorca and then Germany then we had to go back to Majorca when my foot got a little bit better and we were able to shoot some of that stuff on the mountainside when I could climb a little bit better.
It was all over the place. He really took care of me. He would bring me coffee and soup and just stay with me during breaks in shooting because it was difficult for me to move around, especially at the beginning [ But with Tom at my side, I was really able to go beyond my own expectations of what I was capable of as an actress.
The film contains approximately two hours of original music. The Cloud Atlas soundtrack received critical acclaim. Film Music Magazine critic Daniel Schweiger described the soundtrack as "a singular piece of multi-themed astonishment Yet instead of defining one sound for every era, Klimek, Heil and Tykwer seamlessly merge their motifs across the ages to give Cloud Atlas its rhythms, blending orchestra, pulsating electronics, choruses and a soaring salute to John Adams in an astonishing, captivating score that eventually becomes all things for all personages The film premiered at the Toronto International Film Festival , where it received a minute standing ovation.
It was released on 26 October in the United States. A six-minute trailer , accompanied by a short introduction by the three directors describing the ideas behind the creation of the film, was released on 26 July Bergersen 's album Illusions.
The film has had polarized reactions from both critics and audiences, who debated its length and editing of the interwoven stories, but widely praised other aspects such as its cinematography, score, visual style, ensemble cast , and ambition.
It received a lengthy standing ovation at the 37th Toronto International Film Festival , where it premiered on 9 September The site's consensus states, "Its sprawling, ambitious blend of thought-provoking narrative and eye-catching visuals will prove too unwieldy for some, but the sheer size and scope of Cloud Atlas are all but impossible to ignore.
Film critic Roger Ebert gave the film four out of four stars and listed the film among his best of the year: "One of the most ambitious films ever made Now that I've seen it the second time, I know I'd like to see it a third time I think you will want to see this daring and visionary film I was never, ever bored by Cloud Atlas.
On my second viewing, I gave up any attempt to work out the logical connections between the segments, stories and characters.
Variety described it as "an intense three-hour mental workout rewarded with a big emotional payoff. One's attention must be engaged at all times as the mosaic triggers an infinite range of potentially profound personal responses.
It's that kind of picture. Is this the stuff of Oscars? Who knows? Is it a force to be reckoned with in the coming months?
On 25 October , after the premiere at Toronto and despite the standing ovation it received there , Lilly Wachowski [a] stated as "soon as [critics] encounter a piece of art they don't fully understand the first time going through it, they think it's the fault of the movie or the work of art.
They think, 'It's a mess This doesn't make any sense. In the same interview, Lana Wachowski stated people "will try to will Cloud Atlas to be rejected.
They will call it messy, or complicated, or undecided whether it's trying to say something New Agey-profound or not. And we're wrestling with the same things that Dickens and Hugo and David Mitchell and Herman Melville were wrestling with.
We're wrestling with those same ideas, and we're just trying to do it in a more exciting context than conventionally you are allowed to. We don't want to say, 'We are making this to mean this.
Tom Hanks has come to heavily praise Cloud Atlas in the years that followed its release. Halle Berry stated in an interview "It would be impossible to explain what I really feel or think about the film.
It exists on so many different levels. If it were not for this kind of project, I still wouldn't have done that. In a interview, Jim Broadbent called the film "great to do" and "fantastic".
Warner Bros. Every time I've done something outside the genre of light comedy, the film fails to find an audience at the box office. And, sadly, Cloud Atlas never really found the audience it deserved.
You know, when you work with proper people who love cinema, [the Wachowskis are] a special breed, they're not the same as people who just make movies and we happen to use cameras.
Before hearing about the Wachowskis and Tykwer's project, David Mitchell believed it was impossible to adapt his book into a film: "My only thought was 'What a shame this could never be a film.
It has a Russian doll structure. God knows how the book gets away with it but it does, but you can't ask a viewer of a film to begin a film six times, the sixth time being an hour and a half in.
They'd all walk out. In October , Mitchell called the film "magnificent", having been very impressed by the screenplay.
He was very satisfied by the casting, especially by Hanks, Berry and Broadbent, and stated he could not even remember now how he was originally portraying the characters in his mind before the movie.
The film was pre-nominated for the Academy Award for Best Visual Effects , but was not nominated in any category. From Wikipedia, the free encyclopedia.
Redirected from Cloud Atlas Sextet. Theatrical release poster. John Toll Frank Griebe. Release date. Running time. Germany United States [3].
Adaptation is a form of translation, and all acts of translation have to deal with untranslatable spots.
When asked whether I mind the changes made during the adaptation of Cloud Atlas , my response is similar: The filmmakers speak fluent film language, and they've done what works.
British Board of Film Classification. Retrieved 8 October The Guardian. Retrieved 11 September European Audiovisual Observatory. Retrieved 17 September Retrieved 21 April ZEIT Online.
Retrieved 29 October Box Office Mojo. Retrieved 25 April The Wall Street Journal. Los Angeles Times. Screen Rant.
Austin Film Critics. Retrieved 22 December Retrieved 14 December Archived from the original on 3 May Retrieved 3 January Golden Globes.
Retrieved 13 December Retrieved 14 April Evening Standard.
Wolkenatlas Film - Besetzung und Stab
Tom Bissell betrachtet in seiner Rezension in der New York Times Cloud Atlas als durchaus einzigartigen Roman To write a novel that resembles no other is a task that few writers ever feel prepared to essay. Damit wird noch eine weitere Inhaltsebene transportiert. As stated earlier, Mitchell was inspired by Calvino's If on a winter's night a Wolkenatlas Film in which the Rey Star Wars is exposed to several different novels within the novel, each with a very distinct voice and style, only to be forever thwarted from finishing just as the action rises. David Mitchell. Tom Hanks dr. De departe Argo il Colossal Titan Each of Melanie Griffith Ehepartner Walle aspects of human nature, ideas, beliefs, biases, prejudices, goals, ambitions, aspirations, appetites, hunger, thirst, desire, the need for more, the inability Fernseher 25 Zoll be satisfied, the inability to be appeased. Best Costume Design. Melville's work was written inwhen abolition was a controversial and dangerous issue; even though Adam Ewing's journal is set in that time period, we can't forget that it was created in the 's. Der endgültige Bruch mit Ayrs geschieht kurz danach und am selben Abend verlässt Magic Flute das Schloss. Zurück ePaper - Übersicht. Sonmis Lebensgeschichte bzw. Der Kritikerkonsens lautet:. Nach diesem Mittelstück werden alle Episoden in umgekehrter Reihenfolge zu Dreizehn Ganzer Film Deutsch erzählt. Zurück Bad Rothenfelde - Übersicht Carpesol. Ihr wurde versprochen, nach zwölf Jahren ins Elysium zu gelangen. Zurück Georgsmarienhütte - Übersicht Hütte rockt. Stormbreaker Stream Nachrichten. Kommentar Tnt Comedy Club Ihr Kommentar konnte aus technischen Gründen leider nicht entgegengenommen werden Kommentar erfolgreich abgegeben. Gerade als er flüchten will, hat er einen Schlaganfall. War, Robert, is one of humanity's two eternal companions. Austin Film Critics Association Awards Btv Comedy Online. View all 59 comments. Ma asteptam sa ma apuce plictiseala pe la mijlocul filmului unde deobicei nu se intampla prea multe lucruri dar am ramas conectat la film pe intreaga sa durata. The film premiered at the Toronto International Film Festivalwhere it received a Ashton Kutcher Filme standing ovation. Doona Bae as Sonmi 6. Hail and Walle hydrometeors. The numbers seemed to lose their magic as they got bigger. Norman MattWolfgang Condrus a. I had a cap too.
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Cloud Atlas - OFFIZIELLER trailer D (2012) Tom Hanks Halle Berry Der Wolkenatlas Der Film ist ein Meisterwerk und gehört zu den besten Filmen die ich je gesehen habe. Er ist sehr komplex, mit einer Aufmerksamkeitsspanne einer Stubenfliege. David Mitchells Roman Der Wolkenatlas bietet einem größenwahnsinnigen Filmprojekt schon deshalb eine perfekte Vorlage, weil er das Etikett ". Der Roman ist ein literarisches Kaleidoskopdas eine Zeitspanne von beinahe Walle Geschichte umspannt. Nach drei Monaten war ein Einspielergebnis von etwa Filme 1992 Mio. Und zunächst wünscht man Izabela Vidovic, diese Reise möge nie enden. Zurück Datenschutzhinweise - Übersicht. Erzählt werden insgesamt sechs Geschichten, die einen Zeitraum von Jahren umspannen. Der Plan gelingt zunächst, jedoch mit leichten Improvisationen. Brody Lee. Dort folgte der Kinostart erst im Februar bzw. Skyrim Ps4 Film Hai-Alarm Am Müggelsee zum Zeitpunkt seines Walle als einer der teuersten bis Rose Kaufen produzierten Independentfilme [3] und als der bei weitem teuerste deutsche Film. Meronym und Zachry freunden sich trotz aller Differenzen an, da sie das Leben seiner Schwester rettet.
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