Despite the great emotion and great involvement that this film can stir, Hereafter is not without flaws. As in the previous Invictus , we're the big old Clint, we risk leaving the cinema saying
"Well ... is not Gran Torino."
Translation: It is not the masterpiece we could expect.
On one side of the scale we first of all what is good and, in hindsight, there are several ingredients, each of superfine quality.
The beginning of the film is overwhelming, just like the tsunami staged.
We seem to live those moments of panic as the absolute protagonist. A gigantic river of water carries us away with her.
Patches of "reality" are caught a bit 'in a bit subjective' no, with a wonderful impact overall (thanks to director / special effects / editing / sound) that takes our partnership to almost intolerable levels, so that we find as Marie (journalist francese vittima della catastrofe) sopraffatti e sospesi tra la vita e la morte.
Questo incipit spettacolare, con la mano felice di Eastwood che si estende anche su una grandiosa scena d'esterno, ci introduce in realtà ad film di introspezione, silenzi, solitudine e mistero dove le storie di tre vite (Marie la sopravvissuta, Marcus il gemello spaiato e George il sensitivo) sono fatalmente portate ad incrociare i loro destini.
La vita dopo la morte e il possibile ritorno da quest'ultima (Near-Death Experiences) è il pretesto per unire queste vite, così distanti tra loro sia geograficamente (Parigi, Londra e San Francisco) che umanamente (lei brillante, ricca e famosa, il bimbo con gravi problemi familiari, sensitive in the deep existential crisis).
That 's what helps to unbalance the viewer's attention.
On the one hand, especially in the first part, the film masterfully continues, leaving us time to savor the full flavor of introspection that knows how to inspire, with class, elegance and great emotion.
other hand, creates high expectations, how great are the doubts and questions which leads us to reflect, and then disregard them in the second half plus an ending that, in my opinion, comes too soon.
clear: it is a great honor to present this film (and with the wonderful style of Eastwood) and certain topics is not the task of the director to respond pedagogically to such mysteries.
But the absence of a good quarter of an hour of movie to dig even deeper on the aforementioned balance weighs a ton.
The fact that then the conclusion "of a " was the only possible one could still argue: for sure it was the only desirable for both the good and convincing Matt Damon (George the lonely) and for the beautiful and good Cécile De France (Marie the reborn). Also published on
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