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The World on the wire, Fassbinder

Fassbinder little knowledge I had had the World on a Wire an echo buzzing references. In alphabetical order: 2001, Avatar , Fahrenheit 451 , Inception , Matrix , Shutter Island . Let me tell you that I struggled to see in this film the concept of the vortex of the matrix movies anticipation modern, as advertised on the packaging. Already, quite simply, because the future of the World so much the worse that old ones imagined by Truffaut or Kubrick. It was nice to make every effort to conceptualize the decor of the mall, waiting room furniture, the atmosphere of stale tobacco are not the case. And some virtuosity of staging does not désengluent an entire aesthetic soft and cold. First meeting with Fassbinder missed.

NB: Thanks to Cinetrafic for this DVD. The World on a Wire, released October 6 on DVD, is distributed by Carlotta .

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Bad Lieutenant: Port of Call New Orleans, Werner Herzog

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It is amazing how freely Werner Herzog captures the title of the film's story of Abel Ferrara. A violent movie and mystical, which was worth less to her side scorsesien for his race at the craziest bet, between the challenge and renunciation absolute sacrilege. That side, it seems that Werner Herzog plays with fun in the prologue of the film. It shows us our future lieutenant hesitated before making the leap, hesitating before getting wet to save a renegade from his prison flooded. Just before he shows us, with his friend, bet on the fate of the unfortunate. The skit seems to gather into a caricature issues Ferrara's film, as if to release one last time and do something different.

Snake Eyes

One would think this scene brought as an original sin by a snake that we follow in the waters of the prison (the film takes place right after Katrina). Yet it is an act of bravery that opens the movie, and condemns the same time the character. The snake was not the temptation, he was a snake. The rest of the film works by the lowering of the symbolism of evil (snake, bet, sex, drugs) on an animal any animal, sometimes funny, often absurd. But not just any animal: the approach is reptilian, undulating and the ground.

Reptilien, this Bad Lieutenant - Port of Call New Orleans has the air of being featured in his narrative. No path foregone, no descent into hell pending hello, our bad lieutenant advance as desired. Crime scenes, his reunion with Eva Mendes as a prostitute, paris with the bookmaker friend, equipped with a gang of drug dealers, the snake goes where his instinct door. Obsession of the crime to solve not the spirit of the reptile, he turns around as irrelevant, then infiltrates like a worm in the apple, when it is expecting more.

Nicolas Cage is perfect. His playing of statures vaulted, grimaces and laughs hysterically is crazy enough to carry us into something inhuman. Nothing more natural than drugs for this character: while he flees his grief, he finds its most primitive, more animal. And it's something fun with great pleasure Herzog and daring when he takes his camera to the point of view of hallucinatory alligators or iguana, taking the excuse of the drug. Because there is also a playful dimension in this film, the director playing with the different tones, the black cop to the pure comedy (when the lieutenant is out of the woods is treated surprisingly removed, the characters are hilarious successor to his office).

Beyond good and evil

If the investigation itself occupies only a secondary role in the plot of version Bad Lieutenant Herzog is that it does There is no such obsession with sin was in Ferrara's film. The character played by Harvey Keitel saw his life totally skewed by an act of sacrilege (the rape of a nun), which could help bring the guilty for the worst and the best. No notion of good and evil in this Port of Call New Orleans , simply because these values have no place in the natural cycle that governs the jungle. Like, it makes the investigation is stripped of some of its violence, in cutting, in the colors - for something darker perhaps, but more attenuated.

The absence of any guilt invalidates the very idea of hello to the bad lieutenant. There are redemption and social: the only way for the character of Nicolas Cage is to become captain. And yet, the plot does not install at all in a diagram Linear damnation / redemption, but rather in a ring system that imitates nature. When one might think the character saved, there are these visual rhymes that ooze the idea of an eternal cycle. In its beginning and its end, the film nevertheless has a fence that is of a hallucinatory world, a jungle where the dreamy nature of man is always reduced to his animal - fish in a glass of water to our Lieutenant sitting in front of a giant aquarium. The great Christian film by Abel Ferrara, Werner Herzog made a great wandering pagan.

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Magic novel - Harry Potter and the Deathly Hallows (Part One)

After

episodes three and four of Harry Potter film, interest in the franchise was somewhat fallen - Opus the five and six, by David Yates, was gray and flat, devastated by a painless melancholy . With this first part of the final film in the series (it starts to make it complicated), The Deathly Hallows (always by David Yates), it appears that some cracks are open to contributions from Alfonso Cuaron (The Prisoner of Azkaban) and Mike Newell (Goblet of Fire ), have seriously deepened.

For Excellence fiction, adaptations of Harry Potter work when the story is intelligently designed. Times and places were subtly arranged in episode 3. Cuaron had the power to Hermione go back in time the focus of her story in three steps. At this time the game succeeds in the new episode on a job site. With the magic our three heroes go without warning from one place to another, scenic mountainous desert landscape. This is an opportunity passages amazing skits pasted together in sometimes abrupt transitions (the snake's mouth) and sometimes very soft (molten sober to black). Through the magic still places and colors overlap, the here and also available as data and manipulated. It was the merit of episode 4, and play through fittings on the handling and the relativity of points of view. But here it is more a system is that David Yates is happy with the success of breaks and rhythm changes of tone - british comedy in awkward situations, awkward teenager at critical times, nice sequence animation fast mare ...

For Excellence romantic adaptations of Harry Potter work when they leave the spotlight to the characters. Faces otherness and tampering, Harry Potter and the Deathly Hallows is a character who has become more complex. The others are friends whose loyalty is tested by events. They are also the Death Eaters, elves and Muggles - all players who form the semblance of political parable, just enough hold to let the romance take over. And especially this otherness is not fixed, it is there to impose the hero test for impairment. As formerly the Sam Raimi Spiderman, Harry Potter feels the threshold of his adult life a series of physical changes (change in appearance to deformation of the face), always excuses for comic counterpoint. Generally our hero has left the approach and provided a little person with his destiny as the clothes are too big.

David Yates (finally) managed to find the cinema of futility and the mixture of gravity that makes the charm of this modern epic. And perhaps it is no accident that there arrives after two previous lukewarm, as if the mechanics do not work any more romantic film than in the serial mode and patient of the series.

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Small mirrors and large handkerchiefs


Failing to Learn what to think of the new film by Guillaume Canet, I'll just make two assumptions.

Hypothesis: This is a bad movie. Canet tries to save his characters from the cartoon stretching situations until the peaks of trouble, sometimes hilly beginnings of mad laughter. Instead of a true comic sense, he claims to more soul ... We would just have the residual: the mirror and complacent lousy of a band not friendly at all. And in addition they should complain. No fear of pathos, is commendable, but certainly no fear of pathos in this scene that looks like a funeral to the rambling of a narcissistic person imagining his own funeral.

Second hypothesis: the film is a desperate radical. Canet tries to save his characters from the cartoon in which life itself tends to confine them - and the film recounts the failure of this enterprise, not without some laughter. Under the mask of comedy, so there is a drama ... Or a tragedy: the mirror is relentless, the reflection it gives is scary vanity. The picture is even more pathetic that there is nobody to counterbalance the general mediocrity, the trainer practicing jargon grotesque Jean-Louis believed that you can not take it so seriously is like the sandman a childhood dream.

It seems, unfortunately, that the first hypothesis is most likely. But I would not put my hand to be cut - and I'm not the only . Poor or pessimistic Les Petits Handkerchiefs have me in both cases left an unpleasant.

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Back to the XXth century - Unstoppable, Tony Scott

If Unstoppable creates a wave of enthusiasm in some criticism, it's probably for two reasons that this movie is perfect in the opposite cinema reviled the inaction and that sociologizing opposite view is taken in such a sketch that seems naturally to provide reviewers with the tools for its analysis.

True, it is always nice to finally see an action movie that is just what it is. Battery lasts 1h30, we used the railway Fine kids with white teeth, and claims no pretentious speech. Everything, in short, to concentrate on the essentials of film movement.

This seductive moves are as much as paradoxical. This is a basic way to impose a cinema that runs full speed and raw energy that prevails tout sur son passage. There's something modern about this fascination with the monstrous power created by the machine. But there's also a delightfully dated futurism in praise of this action in its purest form. And we realize that, despite the effects breaking news, despite the convolutions of the camera, the obsession with energy looks more like the Raoul Walsh Manpower than any other recent film.

To go further, one could say that Unstoppable part of a tradition that combines contemporary cinema machinery. The Arrival of a Train Station La Ciotat to Duel Spielberg, the film of the twentieth century gave us impressive examples of these metal beasts. Even more frightening, these beasts, they are systems empty, aimless movement of blocks of pure exponential. In the case of Tony Scott as that of Spielberg, the plot is so wiped out that we need only contemplate the mechanical bearings - there is no other subject than the speed the train, there is no other subject that the film as an art movement.

The impression you get custody of Unstoppable is his surprising backwardness vis-à-vis the current American cinema. A cult of the technical power to a thousand places of paralyzing technology of Avatar and massiveness a very concrete that would be enough to lose faith in all the characters in Matrix or Inception . It does not look far at all, even the terribly low brow, but it's a beautiful thing, straight out of the twentieth century.

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Mad Men

Since it is broadcast on Canal Plus, Mad Men the series has become fashionable. The smoky atmosphere, and well gominée undermined this series on the golden age of advertising in Manhattan haunts since the beginning of the spirits, newspapers and blogs. It must be said that the series has a lot to occupy our thoughts: a careful design, characters as mysterious as classy and impressive catalog of pretty ladies. Don Draper, the main character, is a dark troubled past, which speaks to its advertisers as he seduces women. It is in the shadow of this character evolves a seemingly perfect family (his wife, Betty, is sublime) and a galaxy of creative writers and CROs forming the population of the advertising agency Sterling Cooper.

The rest of the article on Again .

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The buried alive - City of Life and Death, Lu Chuan

A beautiful and disturbing work that this City of Life and Death, which begins like a war movie turns into a historical drama and ends in motion dream.

The black and white knows many justifications that the film is phase. At first it's the style contemporary document, energized and blasted by a tight fit. In a second step is the aestheticism of human figures - the dramatization of their destiny. And in a third time expressionism, symbolism, solar power of the Japanese army and the light devoured by darkness.

Lu Chuan's film, which tells of abuse inflicted on the Chinese population of Nanking by the Japanese army in 1937, perhaps half an hour too. Yet no effect The Pianist the methodical description of this tragedy. Lu Chuan dares highlights and musical themes supported. He can afford it because it draws us slowly into a trance, in a reality distorted by the horror, numb with grief, and which provokes a paradoxical beauty.

NB

Cinetrafic Thanks to this DVD. City Of Life and Death is a dvd edited by Seven7, to be released November 23.