I seen a lot of movies and normally i do not watch this kind of movies, they cannot hold m y attention for long. But this one is different and really heartbreaking. I had never heard about ALD. So today i did some investigation, and found out that Lorenzo still lives and you can write him if you want. Details Edit. Release date January 29, United States. United States. English Italian Swahili. Un milagro para Lorenzo. Universal Pictures Kennedy Miller Productions. Box office Edit. Technical specs Edit.
Runtime 2 hours 9 minutes. Dolby Stereo. Related news. Sep 7 The Wrap. Contribute to this page Suggest an edit or add missing content. Top Gap. By what name was Lorenzo's Oil officially released in India in English?
See more gaps Learn more about contributing. Edit page. See the full list. Watch the video. Recently viewed Please enable browser cookies to use this feature. Join Now. Miller imbues the film with such emotional intensity and conviction that you can't help but get caught up in their plight, cheering them on through every obstacle even as we recognize that whatever victory they may attain can only be partial.
Miller finds humor and horror in medical politics. And, with surgical resolve, he cuts to the emotional quick: the drama is heartrending. It is as if we are being jollied along and made to realize, in case we weren't capable of getting there by ourselves, 'this is terribly sad', and, 'this is tremendously uplifting. While difficult to watch, it becomes a positive, even heroic adventure, lifted by heavenly strains of music of Mozart and Mahler, Barber and Elgar The questions this movie raises about the medical establishment, drug testing and the clash between science and compassion cannot fail to evoke the battles raging over AIDS.
Lorenzo's Oil is strong medicine indeed. This curious element, inserted in a fiction that is so traditional that it seems fusty and that [director George] Miller serves with dynamism and conviction If any movie of recent years deserves to be called "inspirational"--a much-abused term that one hesitates to revive apart from exceptional circumstances--this one certainly does.
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Screen Pass. For Augusto and Michaela Odone Nolte and Sarandon , the news that their five-year-old son, Lorenzo, has a rare terminal disease is sobering, to learn there is no known cure is devastating. Despite the prognosis, the Odones embark on an extraordinary mission of love, consulting and sometimes colliding with the world's top doctors and scientists in the quest to save their son.
He does not insult the intelligence of the audience by turning this story into a disease-of-the-week docudrama. We follow the thought process of Augusto Odone as he asks questions, makes connections, and uses common sense: If his son's body is breaking down the fatty sheath that protects the nerves, is there a way to replace the fat, or frustrate the process?
While Augusto spends months in research libraries where the librarians eventually share his quest , his wife maintains a stubborn, even mad, conviction that her boy will get well.
The child is moved home to the living room, which is converted into a hospital ward. Nurses are hired around the clock. Convinced that her boy is alive and alert inside the shell of his body, Michaela reads to him by the hour, and hires other readers - firing one employee after another for not sharing her unbending vision.
There is probably as much dialogue in this movie as in two other films. Augusto and Michaela talk to each other in rapid-fire, impatient bursts; there is no time to lose if their child is to be saved. The screenplay incorporates a great deal of technical information, somehow making it comprehensible, so that we can understand the reasoning when scientists like the distinguished Professor Nikolais Peter Ustinov debate the Odones.
Nikolais represents the larger medical establishment, which Miller does not portray as a bunch of conservative, unfeeling clods.
He shows the doctors and researchers doing their jobs conscientiously, and doubting the claims of the Odones because, after all, they are not the first parents of a dying child to grasp at any straw. I was distracted at first by the Italian accent Nolte uses in the film, not because it is badly done he sounds much like the real Odone, who has appeared on talk shows as because it seems odd to hear Nolte with an accent.
But eventually the accent issue fell by the side; this is an immensely moving and challenging movie, and it is impossible not to get swept up in it.
Roger Ebert was the film critic of the Chicago Sun-Times from until his death in
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