Seraphim Falls In Hindi Free Download
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In the 1860s, five men have been tracking a sixth across Nevada for more than two weeks. They shoot and wound him, but he gets away. They pursue, led by the dour Carver, who will pay them each $1 a day once he's captured. The hunted is Gideon, resourceful, skilled with a knife. Gideon's flight and Carver's hunt require horses, water, and bullets. The course takes them past lone settlers, a wagon train, a rail crew, settlements, and an Indian philosopher. What is the reason for the hunt; what connects Gideon and Carver? What happened at Seraphim Falls?
Somewhere in the desolate and snow-capped 1860s-Ruby Mountains, a rugged and solitary man, Gideon, runs for his life, wounded by the unyielding Carver's murderous four-hired-guns posse. In this imposing but unforgiving landscape riddled with treacherous hazards, the two indefatigable enemies test the limits of their strength and endurance, with skilled Gideon always a step ahead of his relentless pursuers. But who is really Gideon? What has he done to deserve such hatred? In the end, what secrets are buried in Seraphim Falls?
In 1868, Liam Neeson and his shrinking band of hired help tracks the lone Pierce Brosnan through the mountain wilderness and then down into the valley where each must pass through various Western iconic communities: the trapper's cabin up in the mountains, the wagons of the religious settlers, the mining camp with its likker-drinking Irish, and the lone miracle-cure peddler on her cart.
You don't learn until more than half-way through exactly WHY Neeson is pursuing Brosnan. It was at the end of the Civil War. Due to accident and misunderstanding, Captain Brosnan's men burned down the barn and the house of peaceful farmer Liam Neeson. Neeson's lovely wife, their child, and their little baby were in the house. Neeson's thirst for revenge is unslakable.
It's COLD up in those mountains. Everyone is bundled up in great big bearskin coats. Brosnan is wounded in the shoulder and there is a painful scene in which he screams while extracting the ball and cauterizing the wound. The script is perceptive enough to have him treat the arm tenderly for the rest of the movie.
Brosnan loses his bearskin coat when he falls in a river, goes over what looks like Victoria Falls, and manages to swim away. This guy is clearly on a first name basis with suffering.
The framework for this story was provided by some previous exercises in survival in the wilderness against great odds. "First Blood: Rambo" and "The Outlaw Josey Wales" are chief among them, but some shots try to duplicate "Lawrence of Arabia". There's even a notion ripped off from Liam Neeson's own "Rob Roy," in which Brosnan hides inside a hollowed-out dead animal.
It's designed as a fairy tale, I think. It's hard to tell whether the writers and director expect us to believe that Brosnan could survive under those conditions, or that Angelica Huston could appear out of nowhere with a horse and wagon in the middle of a parched desert, and then be on her merry way. Or -- how can Brosnan climb thirty feet into a tree and then drop a big knife directly onto the skull of a pursuer, knowing where the pursuer will stand, and that the knife will (hold on) PIERCE THE SKULL as easily as a hypodermic syringe penetrates the skin? In the end, the two men have battled and bloodied each other to exhaustion and both have lost the ability to kill, so they stagger off on this dry plain, each going his separate direction, before both figures dissolve into nothingness.
If there is a covert message, and the film seems to creak at the joints trying to impart one, it must go something like: "Let bygones be bygones," or "Peace is better than war," or "Cut the crap." Not much acting is required, though it's always nice to see familiar faces on the screen, even if they wind up looking like homeless urban campers. The way Brosnan's beard comes out, it can't help making him into a comic figure. He could be in a Charlie Chaplin movie. And I like Liam Neeson, but I like him much better as a nice guy than as a grim reaper. His nose begins in the middle of his forehead. I certainly hope it has nothing to do with the fact that Neeson was born in Northern Ireland and Brosnan in the Republic.
Neeson even gets to come up with a famous quotation: "Only the dead have seen the end of war." It's usually been attributed to Plato, and that sounds right but it's evidently untrue. It appears to have come from Santayana's "Soliloquoys" written after World War I : "Yet the poor fellows think they are safe! They think that the war is over! Only the dead have seen the end of war." Santayana does not attribute the saying to Plato, or anybody else. I'm just throwing this trifle in. I had to Google it myself.
"Seraphim Falls" is a somewhat interesting western by first-time director David Von Ancken. It belongs to the "bounty hunt" sub-genre of westerns – Liam Neeson plays Carver, an ex Confederate soldier hot on the heels of Gideon (Pierce Bronson's), the man responsible for accidentally killing his wife and family – but takes an odd turn in its last act and becomes a somewhat surreal, psychedelic film.
The film's first third is lackadaisically paced, Ancken watching as Neeson and his hired bounty-hunters pursue Bronson throughout the Nevada wilderness. It's familiar stuff, and novice David Con Ancken can't tease any sort of excitement or tension out of his cat-and-mouse plot, but our lead actors do well. Bronson is deliciously savage as Gideon and Neeson, with his skeletal face, high cheekbones and beady eyes, recalls several Jack Palance westerns.
The film's second third is more interesting, as its cast begin to stumble upon small communities and encampments. Here Ancken toys with our loyalties, asking us to reconsider our assumptions about Gideon. Unfortunately the flashback sequences which explain both character's motivations and obsessions are handled very poorly.
The film is strongest in its final third, Ancken taking "Seraphim Falls" into odd, somewhat surreal territory. Here Bronson and Neeson find themselves lost in a desert, where they both stumble upon a pair of devilish, near ghostly characters who grant them the opportunity to murder each other should they choose to do so. "You men are always choosing a gun over a remedy," one of these near supernatural characters states. Appropriately named Madame Fair, she presents yet another moment in the film for forgiveness, talk and reconciliation. But Neeson's out for blood. Madame Fair steps aside and lets the dogs fight.
Though a hellish descent into barbarity and obsession, the film eventually ends with Neeson and Bronson forgiving one another and renouncing vengeance. The film's final act morality play seems to allude to the Christian angelic hierarchy, our duo now like the Biblical seraphim angels; once fallen now risen.
The film's cinematography is by John Toll ("Braveheart", "The Thin Red Line"). He does customarily good work, but Ancken's direction is too stiff. Ancken can't exploit the film's super-natural overtones, can't summon a sense of foreboding, overuses dull shots of men travelling on horseback and botches all the film's flashback sequences. The film is well written and clever in the way it omits exposition and/or withholds information.
7.9/10 – Worth one viewing.
Aside from spasms of brutal violence, however, there's nothing rousing or new here.
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