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serial Film: Blood Red Riding Hood

television say that it takes many heads to the movies today would be commenting on the obvious and, despite the obvious that I love, not will commit. Today I finished to stand up to the Herculean epic saga that is Red Riding . And not that it is particularly long, or that has a medieval history or anything like that. Are only three chapters and a half hours each, but every minute is charged with a density which will use a comparative Jethro Tull: Thick as a brick . Y Red Riding is that plays the trick of pure film noir, that of "I've got you here ... But no!" largest known. But let's start at the beginning. What is Red Riding ? Adaptation of David Peace's novels from the Channel4 (eye, is not the BBC, if not the great channel that broadcasts The IT Crowd and that it was very disappointed last year with Dead Set) that form the tetralogy Red Riding , ie who have been upset one of the four that comprise, 1977. Directed by three different realizadorez: 1974, by Julian Jarrold; 1980, by James Marsh (whose documentary Man on Wire won the Oscar last year) and 1983 by Anand Tucker. Is indebted to the great American movies and English black detective genre and its plot, but completely isolated from it by their treatment at the visual and literary treatment. We are not in the brilliant (and vibrant) Dennis Lehane, but rather to the more dark and gloomy Fincher, that it was great to run before getting romantic epics. For if one were to use a movie to compare with this ambitious production may not have solutions, so it would have to mix two: Zodiac, the denser Fincher, obsessive student of the psychology of the characters, and Seven , the more cryptic Fincher, truculent and pessimistic that shook the theater 90. Good reference, but what meets the expectations?

To begin, I must say that Red Riding meets what is proposed: the viewer has to see the three parties which schoolgirl hooked on physics or chemistry. It is impossible not to watch the screen during that hour and a half just magnetic hard every episode. Hypnotism with which the directors illustrate the story (especially Marsh in the second part) makes everything before us to show us in a purely psychological, almost Freudian. Red Riding sinks into your subconscious by the intelligent use of photography and sound, is a movie meticulously led in its most technical. Never before had shown a more depressing England (not even in The Black Adder ), Yorkshire had never before shown so little as a human, so sickly, to live is to die a little each day. As Paul Schrader, the black film is a matter of style, almost a way of life, and from production has been made clear to the three directors. In the sites we visited, such as cities like Manchester or villages led by a chief chuloputas, we ran into darkest days that gray where the sun is more in demand than a job, and where opportunities to thrive happen to be police and not very honest. The three directors delve into the personality of his three successive players (Andrew Garfield's great discovery, Paddy Considine, David Morrissey) creating oppressive and depressing environments, small spaces where the protagonists are almost framed and this makes them stand still. And here we find one of the virtues of this remarkable trilogy distribution. Is English, no money back and the children have no role, ergo it had to have impeccable performances, but all with one thing in common: almost sickly inscrutable. All the actors are outstanding levels without diarrhea gestures to express emotions. Seeing the actors to move is all a treat, from the Mark Addy plump drinking while listening to his filthy apartment to a young Andrew Garfield smoking in a pub full of smoke as thick as a bowl of chocolate. And all without forgetting a feast for actors and spectators, cosets secondary characters well defined but appear only in the work, especially Bob Craven or John Daws. We therefore, an absolute exercise in style at all levels.



But Red Riding is not perfect, if not talk about something and the masterpiece of noir on television, and although this is a risky and courageous series, does not hold water because of various problems, all linked by the desire to be great like the confusing masterpieces written by the geniuses of the genre, especially Hammett. David Peace and screenwriter of the series looking to loop the loop with jumps particularly complex and prevent the viewer completely imbued with the powerful story that is contemplated. And, as I said before, it is difficult to look away to the lush staging that we are seeing, but this does not mean that you are understanding what is happening. Wisely, the series will raise in each of its episodes a crime McGuffin apparent. Characters know, guess or guess your intentions, and we move into plots and subplots that, in turn, branch off on, and every new character that brings some information appears to open a new path. In the first episode we go from a murder to a love story of three bands (trio would not say romantic because in Yorkshire there is no room for it) between the anti-heroic protagonist, the mother of a murdered and the murderer, also sensing that something about that young man young hustler named JB. But this increases in the second. Starring Paddy Considine and located in 1980, looks like we will see something related to this pseudo Northern Jack the Ripper to then finish giving a completely different turn and leaving the viewer with a sensción weird, since without us aware of what happens, the heart is going at breakneck speed by the brutal turn of script that comes in, literally the last minute of the episode. And when the third begins, one honestly will not know where the story. Apparently all connections are through 1974, the story of journalist Eddie Dunford, the plot is re-structured around the murderer of children, yet begins with most of the characters in 1980, especially the unpleasant Bob Craven (Sean Harris , seen in the first season of Ashes to ashes), and although everything seems to be really spinning and closed, we are reminded of some inevitable questions: Why did the character of BJ, secondary apparent in all the episodes, it is extremely important to the final and we know nothing him? Why do not we know nothing of the murderer? Why has so little weight in the main plot, although hint along the nearly 300 minutes of television? and, more importantly, why can not take you seriously out something where Pepón Nieto?



However, despite its shortcomings forgivable, Red Riding is an experience, for better and for wrong. Sorry I can not attach the trailer powerful, but insertion is disabled.

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Cell 211: the greatness of the genre

When you finish viewing Cell 211 and appears Directed by Daniel Monzon, the first thing that goes through your head is not as the film, or the monstrous creation of Luis Tosar, not even that nice feeling of having invested in an excellent 5 euros and 2 hours of your life. The first thing that crosses our mind is what is missing in Spain to make more movies like this, gender, daring, brave, capable of confront any foreign film and win. A lack of talent? Screenwriters "unable? "Producers who choose not to take risks and live on government subsidies to cover budget instead of creating an attractive product to the public? Server, unfortunately, is not the answer, but prefers the latter. But I focus on the film and I miss cheeky. Cell 211 might consider as the catharsis of this new wave of directors coming out of the audiovisual, heirs to the tradition of Amenábar, to make a genre film can move the American conception of the show for a more patriotic (lack of money c'mon). More ( Night of the Sunflowers ) or less luck ( Backwoods , King of the Mountain , 3 days , Alatriste), in recent years have tried to do something different, and was someone who tried to approach the patriotic mainstream cinema for years with irregular but curious Heart of the Warrior, and then with Kovak Box tried to approach a mixture of film and the fateful Hitchcockian demiurge who controls the languiano protagonist's fate (Lang), but without much luck. Aware of his limitations as a director, a good craftsman but too inconsistent to consider him a great director, Monsoon created here, usually in collaboration with writer Alex de la Iglesia, a tight script in its main aspects, which languishes only in minor details, small traps and springs that do not weigh down the bottom of the film , in addition to a distribution is highly irregular, if not bad, but if they had been polishing could have done Cell 211 one of the best masterpieces worldwide cinema has seen in years. And, without abandoning the code of prison movies, being a movie that contains all the keys (good) of the genre, this film knows how to be challenging given and no patch of tributes, with his own universe, both argument as purely visual level, where the work of Monzón, except at times, is brilliant, and where the literary and technical combination results in a thriller that borders overwhelming between the psychological and pure suspense and hard without ever leaving what appears to be the main idea of \u200b\u200bthe film: public charge against the estate and the double standards of the welfare society.


The foreground of the film and shows us where we are going to hell inside. The owner of the cell that gives its name to the tape and cut the veins, without preventing violence in the foreground, shows Monsoon the slow suicide of a man who could no longer tolerate even slower death which was being placed in that earthly hell that is prison in Zamora. Start playing your cards and bring the viewer into a mental pulse that takes you to get into the game of cat and mouse that carries the film constantly in a tightrope walking exercise reminiscent of Kafka, however, also interesting to District 9 , we chronicled the loss of identity of an ordinary man. And if we referred to the destination before playing the protagonist in Kovak Box, we must turn to the influence of Fritz Lang in this film. What forces the protagonist, an irregular Alberto Ammann, going a day before starting work, rather than stay with his pregnant wife at home? What compels him to go to, life chances, hitting by pure chance by a stone falling from the ceiling and put in the slums end 211, an almost cursed, instead of being taken to the infirmary? Appearance. The script raises throughout the film, the transformation of character through her appearance, a resource that might be obvious but is used excellently. When his wife asks why he has to go a day earlier, he replies that he wants to make a good impression, perhaps the good cop, honest and unafraid. She replied "Do not take anything," referring to behave as it is with them when they are naked in bed after making love, where he openly shows as it is, he confesses all her fears, and who do not understand she is with him, a mere functionary, choosing the man you want. The importance of appearance re-establish when the riot broke out, and removed everything that he joins the civilized world (mobile, engagement ring, etc ...) after it is taken directly to the lower zone, the dining room , to meet the devil in the pit of hell Malamadre asked to undress, which is displayed as it is, he takes off his clothes nice guy, and once seen, you are asked to dress again, but John never gets to wear the clothes completely. Begins his descent into hell through a terrifying transformation marked by violence. As if it were an antihero eastwoodiano, "Pantera" as inmates call Juan, his life is marked by violence until everything explodes and ends become one over the enclosure. John is fearful when he is naked, and the man with fear acts through violence. The film is constantly maintained the thesis that man is evil by nature, simply stripped of its accessories: the objects that humanize and give it look politically correct. Once that has been stripped of them, act by instinct (which he complains Malamadre: "The next time you act for yourself, I'll cut you," as if he were the brains of the prison and only his head could leave plans) and leave your side anarchic flow and bestial. The cell 211 and the god of that prison, Malamadre a Tosar who created English Joker seems to have done its job: crazy the owner and lead to the end.

The other pillar on which rests the great script is the government, and how this is handled with society through politics: lies. At a time when the crisis deepens More than ever, our great president after being denied the crisis until it exploded in his face, the economy minister said he sees improvement comes when soon reach the 4 million unemployed. That feeling of vulnerability of the English society lies exercised by politicians is masterfully captured on tape: the negotiations are in their hands, and play and manipulate men and want. When Helen called to the jail to see how John, his partner says it's great but you can not talk, and conversely when John wants to talk to his wife the same way, Almansa, sent by the ministry, tells Malamadre only four injured, when the total number to 25. The lie also extends to the play of identities and appearances that seem to have all the characters except for prisoners and the two characters closer to John and Elena Malamadre. If all officers are labeled as liars and manipulators, not least the men are working for them "inside": Apache, as is revealed at first, is a confidant, and John is invented that disguise a murderer to go unnoticed between real criminals. This is a ploy to try to win the game, a web of lies (without intention of referring to the work of Ridley Scott) who, ironically, leaves the prisoners as the only honest men are of animals that are not nothing and are shown as they are, and so the deal from the top: his only request is accepted the shrimp, bait to get distracted prey. We also have some cowardly officers, as the warden of the jail, unable to give the order to attack because it involves a lot of pressure for him, and Bernardo, a man incapable of coping, such as when to stop Utrilla (a loose Resines) while beating a sick prisoner, or able to escape leaving a rookie in the middle of a riot. These, refugees in their superior physical position (the control tower from which all movement and view the animals as the animal almost as the villain Zaroff known better), play their particular game of chess with the only man in prison who actually works with the head and not an animal: Malamadre. And within that heading appears a chip that did not have one: ETA prisoners, and spilled a shocking conclusion: mass murderers have more privileges than anyone else. In prison there are classes, and the lives of these murderers is more valid than other murderers (perhaps because, as Tosar, "You have proved yourself more murderer that everyone here ... yes, in the distance, bombs ... "). When you see someone dead and everyone thinks it is a ETA, the cops go crazy, but when he discovers that not one of them, the police seem to say, quietly, just another dead more. This chilling revelation raises political tension means so overwhelming and the last step of John until the total transformation in this animal, this monster who had hidden, and that leads to an ending that, like the film, devoid of any epic, because We have never seen a film that speaks of the greatness of their characters. On the contrary, Cell 211 is full of lies, violence and a harsh and overwhelming reality.