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CRAZY the birth of the Messiah pop

ORIGINAL TITLE

CRAZY (CRAZY)

YEAR 2005 DURATION 127 min. Canada

COUNTRY DIRECTOR Jean-Marc Vallée Jean-Marc
SCRIPT Vallée, François Boulay
Several
MUSIC PHOTO SHARING Pierre Mignot
Michel Côté, Danielle Proulx, Marc-André Grondin, Émile Vallée
PRODUCER Cirrus Communications / Crazy Films Jean

Marc Vallée, debutant director, surprised and strangers performing one of the most renowned films in 2005 with CRAZY swept the awards of the Canadian film and spend a significant amount earned in the international market also to be unanimously praised by critics, coming to be regarded as the revelation of the season movie. It tells the relationship of Zac, a special child since birth, who possesses a kind of healing gift and a special sensitivity to his family, especially her father, a homophobe frightened by the idea that your child may be homosexual. As a curiosity, and matching the title of the song that marks the protagonist's relationship with his father (Crazy, Patsy Cline), the name of the movie is an acronym that contains the first letter of the name of Zac and his own Brothers in the respective order of birth: C hristian, R Aymond ntonine A, Z ac e And van.


generational change since Nicholas Ray
revolutionize the cinema in 1955 (along with Rossellini's Viaggio in Italia which pledged his life on screen played by the always excellent George Sanders) with the premiere of Rebel Without cause, envejecidísima film chronicling the experiences of an outsider unable to adapt to the American way of life of the 50's, we have seen thousands of times in movies the eternal parent-child conflict, the destruction of the bonding involved belong to two different worlds marked simply by the difference old. Provided, of course, located in adolescence, perhaps the most contentious stage in the life of a person, where you decide what kind of social member will be. In CRAZY , Vallée presents an interesting if uneven cool Canadian company called Quiet Revolution, when Quebec was carried out a drastic decline of religious influence in society. A country that changed in a rush and that topics about yourself social identity, cultural and religious. Beaulieu family, a figure somewhat Fordist group for their social function (and metonymy) for Canada, is always present and we will serve as a guide and introduction into the world apparently unknown to non-Canadian viewers. Subtle ways, using Christmas as a leitmotiv, placing the birth of the young Zac such an important day in the West and is on 24 December, we have cast the first goal. From that moment, the star symbolize an entire country, or rather, an entire generation that needed (and brought) the change.



Music is the soul of this generational change. The powerful soundtrack is used in an exemplary way to narrate a period of 20 years in the life of this particular family. A bit like Martin Scorsese, who has always used music to propose temporary jumps ellipsis and distinction. We found three very different phases: childhood, security, under the command and the parental control, in which we listen to Patsy Cline, Buddy Rich, Charles Aznavour, music that, to this day (and the 60 full revolution in pop as well), could be considered "old." A time full of poetic moments like those car rides with his head out, chips, holiday gifts, and other less pleasant, and small blame or the boring masses. But the house is a safe place (where for you, be ladybug is just something that should not be, without knowing the reality of the term), so when of child wets the bed, her mother runs to their aid soon, and when you go to camp, the children will drown by being unable to control. Patriarchy is always present on the players, the strong presence of paterfamilias comes out from that Zac has a word. The concerns of this for your child's sexuality, favoritism of this until it begins to emerge the "sensitivity" of Zac, these holidays are marked by the karaoke that is mounted Aznavour playing father (always a popular request, as jokes Gervais). Especially significant is the "sacrifice" of the protagonist to break the record of Patsy Cline will cause a schism with the father. He, thinking that will solve it, gives his father the same disk but in the Canadian edition, trying to correct the error, but for the father, even with the same songs, the same letters, "does not sound the same." Zac is that record that his father did not want to hear.



Later, in the seventies, when the son has decided to dethrone god belief to put rock stars in the altar, Bowie, Pink Floyd or the Stones take the soundtrack. Traditional iconography is cracking and replaced by secular deities, just as in the Mass, Psalms Zac does not listen, if not a choral version of Sympathy for the Devil. Birth of the Counterculture, Dies convention. This version teen decorate their bedroom (he now shares with his new little brother) and his own world, with patterns reminiscent of the masterful cover Dark Side of the Moon Pink Floyd and pictures of David Bowie, the new god previously referred to. A world away in her home, and to highlight that, at any given time we see him singing Space Oddity , whose lyrics have some resemblance to their adolescent feelings. And once that Zac's character seems to have matured, having left behind his homosexuality, but at the same time with his family dead, punk and electronic music are displayed as a symbol of the maturity of rupture, as was said movement within the rock. Although like everything in that time, illustrating the time of confusion and self-destruction of the main character, its identity lost in a constantly changing musical tastes, social and even their own aesthetic. The total rejection of the family and the rules imposed. Zac now seems a kind of Sid Vicious goes around and goes to her ball. Although here we have a little time Magdalena de Proust at the wedding of eldest brother. When Zac's cousin appears with her boyfriend, dancer attracts Zac, hear Brother Louie Stories before it, as in the 70, everything is broken and the problems teens about homosexuality out again.



The reverse in the mirror

CRAZY talk about identity, either a country or a person. And is the point around which everything revolves, using, as I have said, the music. But the final aspect that helps to shape (and destroy, all at the same time) Zac's personality is the presence of religion in his life, the assimilation of either dogmatic values \u200b\u200bencoded within the Christian tradition to end away from the official version end up being a simple matter of faith, man with God without church involved. The film is full of biblical references, as the ratio of Zac Cain and Raymond, "my greatest enemy ", but the most important refers to the messianic qualities of the protagonist. Because Zac is a character counter. Zac has asthma, but smoke. Zac does not believe in God, but prays. Zac is gay but sleeps with women by mere appearance. We reemphasize the drawing room Zac: the cover of Dark Side of the Moon , and beside it, a mirror in which we see the true face of our anti-hero. We as viewers we are only that we are aware of that omniscient view, because the boy's personality is extremely multifaceted, changing depending on who you are. But perhaps I should say the apparent real face, because if something leaves the film is free to interpretation. Hence the comparison to Jesus is quite accurate. As shown in the aforementioned scene of Patsy Cline album. We are never told it was him, but Zac takes the blame because it is their mission, the mission of the messiah of the Beaulieu family. Roasted like family to heal all because his mother asked. Therefore, to get the family is at peace, chooses to waive its condition creates a make-e (like Bowie) to be who is not. All for the family benefit, the father's joy. And in fact, that is, when the Christmas dinner for 80 runs in total harmony with father and son together as never before appearing again the issue of homosexuality. Thus, together with the fatal destiny of the wayward brother, this is a character set for a denouement worthy of the purest Greek tragedy. It's a shame that the movie madness and end up as a psychotropic trip to the back of your mind, because the idea of \u200b\u200bJerusalem with the lover almost identical to our standard vision of Jesus Christ, is not all bad, but too much dream time and conjunctions and miraculous coincidences subtracted more they bring, and are somewhat tiresome, as they repeat the same idea over on sensory and telepathic connection between mother and child, and we say, are somewhat ridiculous.


CRAZY
But despite its virtues, is irregular. No longer the indie film classic with all their tics and foibles clearly marked, from aesthetic abuse ellipses and an overburdened forced use of music, always seeking the most beautiful possible at the expense of an asceticism which, at times, are the best film. That mannerism, the baroque visual destroy the dramatic force as obtained based on the family tradition in daily scenes. When you leave the camera Vallée stand and let those who speak are the wonderful actors, the film grows in surprising ways. Michel Coté as the overbearing father gives lessons interpretation, and the times when everything works smoothly at the moment we have priceless sequence. The scene in the bathroom where the couple talks about her son, shot in a single plane, is something close to magic, to the everyday trapped in a frame. That sobriety, joined the expressive use of colors and shapes give these segments calmer certain postmodern touches of melodrama of Douglas Sirk. But when Canadian filmmaker decides to strike at the table and say "this is signed by an author" thing gets out of hand. The redundancy of slow motion to highlight the seriousness of a scene, the search constanre epic drama and forced at the end, if you do not worsen outcome global. They usually coincide with the looks now inside Zac introspective and subjective view of the world, how he addresses the situation. As the antithesis of the bath scene is the Christmas dinner, and in the 80's. It's all going well, conventionally and smoothly, the Christian wedding reaffirms this traditionalism, until the outbreak of conflict situation and drugs and homosexuality represented Raymond and Zac respectively. An outstanding piece to that Vallée's not enough to put their players to play. He, like metteur en scene, has to make their mark. We must not go like a bull in a china shop to show the hardness y la gravedad de una situación, hay más opciones además de la cámara lenta y a la música reventando tímpanos. Pregúntenle a un tal Clint Eastwood.

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Cache: beyond the wall

TÍTULO ORIGINAL Caché
AÑO 2005
DURACIÓN 117 min.
PAÍS Austria
DIRECTOR Michael Haneke
GUIÓN Michael Haneke
MÚSICA
FOTOGRAFÍA Christian Berger
REPARTO Daniel Auteuil, Juliette Binoche, Maurice Bénichou, Annie Girardot, Lester Makedonsky, Bernard Le Coq, Walid Afkir, Daniel PRODUCER
Duval Co Austria-France-Germany-Italy, Wega Film / Les Films du Losange / Bavaria Film / BIM Distribuzione

'm the opposite of being a specialist in Haneke's films, I've only seen a few film credits ( pianist, Funny Games, 71 Fragments of a Chronology random and Benny's video) so I can not venture to speak of creative and authorial world beyond mere scraps that I could collect from their jobs, yes very particular, where there are an unhealthy taste for violence reminiscent of an even more explicit, Cronenberg, and a fairly little complacent human being, placing it as a vulgar bourgeois subject who is only out of self-contemplation by the bubble burst of violence and disease. The other day I read a definition on the movie more or less simple, it is still very successful and enlightening of what this art: the movies start when something breaks normal. However, Haneke seems to want to twist this reductionist approach and turn it over to make it the reality that breaks like a bull in a china shop in the reality in a free pair of mirrors. How is this possible? This recording with which they start the film, which shows a street in an unidentified location and, if not because suddenly the image is rewound and the voices of Juliette Binoche and Daniel Auteuil interrupted, we would take as the true beginning of a movie where, in short, is going to happen something related with the protagonists. And subtly tells us something that makes this pair of seemingly perfect bourgeois life (and boring): alter reality at will and way, if you do not like something change or treat with contempt (especially significant in this regard is the passage in which Georges is editing his TV and cut a large part to keep it "interesting"). Act with a bandage on their eyes to what happens in the world (George walks past the camera and not be aware of it) quite elitist, have the ability to decide what to discard and use it regardless. A cruel and cold way to live, but the one chosen by this pair of snobs and his son, make no doubt of the Internet generation. Owner of a tough-talking, in their irregularity of film, the strength and conviction with which he recounts the events (rather with stops on them) make it an experience that plays to take away the mask of a society like the current, more concerned with false appearances and good relationships that meet the real needs of the world, these are basic (the issue of racism in France is latent throughout the film).



filmmaker Hitchcock partially disguised (with touches of Bunuel) using a McGuffin to tell a suspenseful story with a dramatic background, ie, the tapes are worthless in the plot, is the spark that ignites the motor. The only thing that Haneke was looking for a justification for analyzing contemporary bourgeois society, especially in French (why are so obnoxious and pedantic, even dining lazy days?) Because, in an ending as disturbing as open, we are not clear At no time who the author of the recording and, of course, we give answers on what is planted, letting the viewer to scratch in the surface to draw conclusions. Moreover, the film, after the two planes that might be called the end of the protagonist sleeping in the shadows and memory, ends as it begins, that is, something cyclical, and we could be looking back to that mysterious being (almost demiurgic) capturing fragments Laurent's lives. The disturbing thought that the film is based directly targeted intellectuals immersed in a world not real, it works both on television (again, choose the reality you are interested in) as it (works in a literary publishing house, I have no to say) and son (pijito in his spare time goes swimming) are a microcosm undisturbed in the house. It is this detail of interest to Haneke, putting man in conflict with their fears and worries more accurate, the real, those who are never going to get left behind. Therefore Georges and Anne are indignant sovereign when police tell what the usual procedure of disappearance, or when she decides to hire a detective, to which he, in a cynical way too much, you Contet that "have seen many movies . Majid, a mysterious character, no longer the guilt that the protagonist is constantly to return to reality and will never abandon him. This is shown in a quite Dostoevsky, because this child now become a disturbing and almost ghostly memory does not differ much of the ghost that appears to Raskolnikov or the devil to Ivan Karamazov, or a tape that also drank from the literary sources of the Russian writer, the masterful work of Fritz Lang Scarlet . Interestingly, it has nothing in common with these works. At first you may feel identified with the protagonist, but when you see their behavior as a viewer you end up taking him even dislike. Georges also a liar, a bad son, and finally, and here is the grace of election Haneke, you may feel empathy for that initially presented as actant is threatening the environment of the protagonist.



In his last stick this social class, Haneke makes room for no ink left in the almost religious use of lies by the characters. In contrast to the shock that is facing reality, so often hidden by the bandage, the family uses deceit as a basic form of relating. From the outset this is a manipulated reality, where the father does not know what your son, since this hides it innocently. When a tape in the middle of dinner, he hides, he discovers who the blackmailer, he turns to hide. A string of lies that was created 40 years ago in the most despicable possible, again increasing to reach a point where that marriage is in question the very basis of their relationship, the need for trust as a way of understanding life with another person. Recalling the coda of Kubrick, Eyes Wide Shut , by the way that torture the character (and the viewer) jumping between reality and fiction, subtly, Haneke increases that feeling to make the untenable burden, since the child also decides to join the feast liar. Raised in a modern world, a mirror image of his father, with all the comforts of the world, capricious and spoiled, and self-absorbed in swimming, it has more to do with them to say goodbye to them before bed, just like that strange when your father is pick you up at school "when I have a little time." A family broken, dead and it receives its finishing touch. I do not know if it deliberately, but it is especially singular that Haneke shows the room completely naked except for the books, numbering in the dozens on the shelf, a large TV where news is always made (always serious) than ignore players locked in their bubble, and a large dining table where you give your friends, to give that image of being socially integrated and committed to the talks among intellectuals who lavished such people, all outside the praxis of life . Perhaps because of this, the director chooses to take some distance with respect to history, his choice of staging is cold, without close-ups and no real violence choreographed (suicide is chilling by the speed and surprise with which it occurs). With his usual radical minimalism very strong, let it all flow in the natural course (all natural things can be going at 24 frames per second) and are the actors (especially a superlative Auteuil) who bear the brunt of action. Finally, recalling Paul Thomas Anderson's uneven but interesting There Will Be Blood, chooses that moment to show that marks the later history of the three characters through a general level of almost 2 minutes for, as he says Majid's son Georges, knowing the punishment that is loaded with a person's life.

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Better Than Sex: A Tale moral schizophrenic

ORIGINAL TITLE
Sex and Lucia

YEAR 2001 DURATION 129 min. Spain

COUNTRY DIRECTOR SCREENWRITER
Julio Medem Julio Medem
MUSIC Alberto Iglesias
Kiko de la Rica PHOTO SHARING
Paz Vega, Tristán Ulloa, Najwa Nimri, Daniel Freire, Javier Cámara, Silvia Llanos, Elena Anaya, Diana Suárez, Juan Fernández, Arsenio León, Javier PRODUCER
Coromina Sogecine


Julio Medem brought a breath of fresh air in the beaten English cinema of the early 90s. It seemed (and still think) that we had not passed the artistic transition, a constant reminder of cinema in past periods, either the Republic or the Civil War, but our filmmakers opted for a very dog-eared road, probably because of the need to express after years of dictatorship. Therefore, the touch Lynchian of Medem, its surrealism, the strength of its images and the ability dreamy stories marked a before and after in the homeland. The overflow of imagination that emanated from his movies quickly placed him in the disparadero, both for better and for worse. And it is he who sees a film Medem choose a way of understanding cinema, almost a way of life. A filmmaker who loves or hates, a filmmaker who, as fans, do not understand, or a filmmaker who, critics say, is to be understood. Medem has never been a kind of middle ground, gray, has always opted for the black or white, and so it is completely unclassifiable.

Sex as alpha and omega

It would be highly difficult if not impossible, to try to draw rational conclusions and scientific demonstrations of the film as Lucy and sex , which moves constantly between the land of the real and the imaginary with absolute ease. And it raises a story Medem obviously difficult to follow if it intends to provide a consistency and coherence of the film call it serious, conventional, creating the feeling that we have a session of psychoanalysis of the true protagonist of the story. This is Lorenzo, whose dual identity narrative splits into two different layers, one brighter and one darker and closer to the nightmare. Why talk about a story? Because, as a fable, the intentions are very clear from the beginning, reaching the island Lucia and looking like a paella is only for two people, displaced feeling to see something as topical and seemingly silly, clear narrative feature of the genre. With an almost casual and built with clichés like a fairly innocent heroine, in a way, smiling and child looking for her prince charming, the Basque director raises a visceral approach to anything sexy or direct object of the title, sex , and we all have double identity and the impossibility of maintaining them. Begins with an idyllic scene and pompously romantic to the end, and slowly peels the relationship between people and connections established through sex, which, more or less, is the origin of everything, and an end, alluding to the eternal and necessary close relationship between eros and thanatos. Sexual practices are shown almost as a game, a diversion that serves as a communion, a sharing of feelings and emotions between two people and ending all motor becoming both a new life as the Lawrence's novel, the point on which the whole plot seems to be structured and, as his daughter Luna, stems from the encounter with a woman, breaking new ground for confusion.



Are we seeing the real thing with flesh and blood and it all comes from the mind of writer accident, which seems to live by and to shape a new world with lyrics? To highlight this, Medem plays skillfully with creating worlds almost abstract photography, where light and darkness are overexposed which fill the picture, creating a world fit the story, especially on the island, the heart of the story and place really raises the whole debate when Lucy falls through the hole at the beginning of quasi-initiatory journey, by way of Alice in Wonderland or Dorothy The Wizard of Oz, the hole, according to Lorenzo, I from returning to the point of the story that you feel like you, establishing a close game because the metaliterature and reflect on your own illusory world. The fact that all the characters match there on that island that only seems to know him, he gives everything an air absolutely fantastic, completely eliminating the boundaries between fiction and reality, leaving the action to chance without further justification that the credibility of the audience. In this game of truth or falsehood we have the complex relationship between Lorenzo, Lucia and Elena, and Luna's mother might suggest that the heroine is the daughter of novelist due to a sequence in which, while maintaining Lucia and Lorenzo sex, Elena gave birth, hence their relationship into crisis when the dog skews the girl's life. This is represented as something unattainable for the protagonist, the stability that gives a life in your hands, because of personal instability, which is terminated to go out of hand when the character of Bethlehem, or whatever it is, bad sex, visceral, passionate, gets in front of him, as the film establishes two different types of sexuality, romantic, which is used to establish an emotional bond that always brings something (Lorenzo, Lucia Elena) of essentially joyful and how Cronenberg, almost sickly (Lorenzo-Bethlehem), which decentralized the soul and collapse results in a moral and vital for both. Also the young writer has a representation in its own history, which are only three female characters, Carlos / Antonio.



Like a mental patient, a schizophrenic it were, through it exposes your animal side and parent, that is repressed and never let out, the mysterious alter ego only appears to trigger the baser passions of women, who often have just fought among themselves for him, and ends up destroying the character of Bethlehem and his mother and finally decides to travel to the island where all to unwind, where you will learn Lucia and Elena, until the ego, Lorenzo, come put some order, but just when it is accompanied Pepe, disappears through the hole to be replaced by a lighthouse, a symbol of Lorenzo when he spoke to Alsi, the cyberidentity of Elena, and coincidentally, we typically end with a storyteller (in a good way), where Lorenzo and Lucia Elena seems to end up together and realize that the girl's father of her child is neither more nor less than Moon, who will return to life as the heroine holds her prince after all has ceased to be the white light as non-existent and abstract and indefinite world has taken shape.



Movie intense, highly recommendable, unlike the Medem film, not age or pales in seconds screenings. Without reaching the pastel reached in the very repellent Chaotic Ana, Sex and Lucia is the artistic zenith of a goldsmith visual image has then been unable to repeat such an accomplishment. Sutil puzzle where the pieces trying to fit it to lose some of its charm can be enjoyed as a love immortal such calls, with some outstanding performances (Elena Anaya putting all eggs in one basket, quite literally) and use Digital's impressive despite being a pioneer in this regard.

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The Death Trap: The writer, the seer, his wife and the lover



ORIGINAL TITLE Deathtrap

YEAR 1982 DURATION 116 min.
COUNTRY United States DIRECTOR Sidney Lumet
Screenplay Jay Presson Allen
(Novel: Ira Levin) Johnny Mandel

MUSIC PHOTOGRAPHY
Andrzej Bartkowiak CAST: Michael Caine, Christopher Reeve, Dyan Cannon, Irene Worth, Joe Silver, Henry Jones
PRODUCER: Warner Bros. In Pictures

The Deathtrap, Ira Levin fits Lumet, who has already been made into a film with considerable success by Roman Polanski with interesting Rosemary's Baby, or Franklin J. Schaffner in The Boys from Brazil. It was a play performed worldwide with a success anrumador cleverly blending comedy and drama police. In the text that concerns us is tells the story of Sidney, a renowned playwright low hours that criticism of his latest work has been placed in the disparadero. His wife, Myra, tries to comfort him, until Sydney has the idea of \u200b\u200bstealing a large book to a former student of his, Clifford and then kill him to sell it. But the problems begin with the appearance of a seer.

A filmmaker between two shores Sidney Lumet directed

The death trap which is probably the zenith of his career, having directed a handful of masterpieces, including such films as Twelve men mercilessly Lender or the remarkable (and often unknown) Hill, and a couple of key films to understand the film (and society) of the 70, Network, an unforgiving world and Dog Day Afternoon. Emerged in an intermediate generation between the great Hollywood classic Hawks, Ford, Wilder and Hitchcock and the guys headed Corman Scorsese, Coppola, Spielberg and Lucas who renewed cinematic narrative from the cinephile, Lumet always sailed between two waters, a small, intimate film, almost film camera, and another gender, especially the police, where Sean Connery found his usual fellow sufferer. And that its horrible without African-American version The Wizard of Oz with Michael Jackson. But both styles, which may seem the day and night, always viewed from a political perspective and social commitment and necessary. As did his companions emerged from the television generation, Frankenheimer or Peckinpah, showing the miseries of human beings through film quite explicitly coded in their respective genres like The Manchurian Candidate or Cross of Iron respectively. His film, something decadent from the 90's, where he made movies Recupero unfortunate and unnecessary crowned with very poor remake of the brilliant Gloria by John Cassavetes, has been revitalized in recent years with the release of the irregular but interesting Find me guilty, which satirized the trial of a mafia boss, and the overwhelming Before the Devil Knows You're Dead , which showed the dark side of a seemingly happy family, which, like all his films, was packed with double-sided characters. We affirm, therefore, that Lumet is the director of lying, destruction of social conventions. There seems to be born to teach the nasty face of truth, as did the prophet angrily called Howard Beal (a brilliant Peter Finch) who called him a fool in Network, an unforgiving world , a film that was once described as apocalyptic (Lumet has never been made) but that, today, seems to have been short even seeing the level of moral turpitude that dominates television.

is inevitable comparison with footprint, of the magnificent book by Anthony Schaffer. Mankiewicz's classic is almost a moral reference when talking about crime films imprinting theatrical, full of twists and very referential metaliterary a strategic game where, knowing very well the rules of the genre (in this case the detective story, here same genus but in his side stage). Additionally, all told, with the magnetic presence of the always superb Michael Caine, who plays here in Sydney, playwright low hours. We can say that film is a double-sided theatrical analyzing it from its base in relation to the vast work of the director of Before the Devil know you're dead . The Death Trap is a return to clear-cut film that has arisen I deem stage took place at the beginning of his career, but also a turning point (do not know whether for better or for worse been the subsequent level of work ) because it's a style that will hardly recover later films, choosing a tone with a staging more worked where the work of the actors is always a function of the camera, and not vice versa, as discussed in the author's next film, The Verdict , we are in a more cinematic ground. We can say that with the shifting of the work of Levin made a break in a typically intense film, a break to have fun without consequences.

The lie as a form of communication

The Death Trap has two distinct halves, two acts, to use professional language, finishing really different, but with a word in common: ambition. In the first part we have a very well crafted plot, with twists and turns that, as expected, never ceases to amaze. Again we have the classic story of a false reality, identity confusion and destruction. Like a good dramatist who is (who knows if, as requested by John Ford to his writers, the character has a previous biography, and it was actor), Sidney has mounted a story, a fiction absolutísima for your life. And Lumet is a specialist in treating lie. Throughout his film, the teacher has discussed at great liars, hypocrites of all kinds, from policemen to politicians through simple ordinary. And Sidney Bruhl is one more, one of the worst. Presented as an ambitious hungry for success, Lumet is slipping pills that tell the true character of the playwright, topped by that very long tracking shot as he calls for staying with Clifford in his wife, Myra, seems to sense that there is something wrong with that call. Professional deformation lies Sidney, Sidney fictionalized their reality, like a person who needs a lie as oxygen. Clifford lies, which leads to the gallows by promising to correct his work, he lies to his wife, lies to his lawyer and, of course, lies to the visionary. Even tested the lie to Clifford to give it credibility, credibility, according to Aristotle, becomes false in credible, knowing the importance of the accuracy of this network through his work as a crime writer, as did Laurence Olivier creating lies to Milo Tindle in footprint (in the right, not in the Brannagh).

And the second half, less precise, more inaccurate, more forced dramatically strengthens Lumet's taste for stories of losers. If Dog Day Afternoon saw a pair of thieves who were going to rob a bank and where everything that could go wrong went wrong, this situation is repeated in the death trap. Once we know the true face of Sidney, his relationship with Clifford and the plan that they plotted to secure the legacy of Myra, started to see two great liars face to face. Clifford writes a play based on the first part of the tape, but tells Sydney that are doing something social, as it seeks the prestige critical, but it hides in a locked drawer and do not let the character Caine read it. At this point we realize that the only real thing we know about Sidney beyond his mask is that is really creative fallow (It should be noted the tracking to the face of Sidney powerless over the typewriter keys while machine lover, exulting in creativity, sound like thunder). Therefore, knowing that Clifford is hiding something, has to lie, requires him to leave the table they share in their writing by asking to go to different rooms at the end, saying "I have not seen." Knowing both what can the other, stripping and check how they are really the characters, and this outburst of sincerity evening, it was necessary to introduce some truth, that work he writes Clifford in which narrate the murder Myra and could unveil it all. Lumet, with his usual skill, he begins to create an atmosphere of unbearable tension, help (Ironically enough, all told) for the coding of weather as a dramatic element with the storm continued during the last half hour of film. But the good work of Lumet no manages to avoid feeling forced to produce many times now. Continuous twists and turns, the expansion of conflict resolution, entry into the visionary game. The intention to deceive and attack the key elements of the genre are, ironically, falls into the same rules that seeks to parody, making the tour de force of the director of Fail-Safe be empty and the end of the film something heavy, despite the brilliant play of shadows that is chained to the final moment.

Because if there's something out of this film is the intense work of Lumet, who put all their eggs in one basket in a job that is not as visible and many need to assess a direction as outstanding. It is evident that their baby staging of the theater, and there are clips from the film that are pure interpretive sequence shot where the camera just follows the actors around the stage while dropping their lines. But is that really what motivates functionality to act Lumet. His style, acquired during his years in the making television dramas and TV movies were marked by simplicity and importance of the actor as a symbol, the center of the drama. Accused of academic and simple in many cases, Lumet does not need to reload the action close-ups so childish, but it reserves those details for when it really is necessary, as the sensational scene where Sidney Myra makes him believe that he will kill Clifford and you see the fear in her face, faced with several close-ups of the face of Caine emphasized. A highlight here too morphological use of the house, the location of the crime scene and the development of the action. Probably this is already highlighted in the play by Levin, I have not had the pleasure of reading or view represented, but not be underestimated the role of the filmmaker, who shows a house perfect for your fireplace crime burn documents (another key point that gender ironic). The building itself seems to force his characters to tell lies, try to stay one step ahead of the other. It should also be named as one of the moral standards we have in Rope, Alfred Hitchcock. In the house of those two gay murderers played by Farley Granger and John Dall (oh, what a coincidence, as in The Death Trap ) had a hub to which all eyes were directed: the trunk. Well, here we adopt a similar strategy, all our eyes turn from the opening credits to that room full of weapons used in fiction Sidney apparently used as an office and place for inspiration. The importance of this site indicates two key moments: the "Death" of Clifford, as literary good white lie, it happens here in the place where Sidney frame their stories and where, who knows, as planned this, and the visit of seer to marriage, which she anticipates will happen a tragedy with weapons taken from the works of the writer. Therefore, throughout the play, especially in the last section, when the characters talk about murder, death and other gruesome things, seems to have a higher power that leads them to that corner of the house. And to show a button, while Sidney and Clifford tested the resolution of the fictional works written both the second choke at first quite real, just at that point.

To conclude briefly, I must say that, in its irregularity, The Death Trap is a highly enjoyable little gem, a clever comedy which can be forgiven for trying to stretch to the limit parody the detective genre. Some interpretations of height, with a Christopher Reeve type that holds up well primarily a Michael Caine, and a superb work behind the camera of a dinosaur movie in one of his most nostalgic and light films. A film that you can not give a second, because more than likely lose detail.

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The Assassination of John Dillinger by the coward Melvin Purvis

History John Dillinger, and like many of his fellow generational criminal environment has been so upset and sweetened with the passage of time it takes for both distinguish legend from reality, as a western. So begins Max demystifying Nosseck tape, full of many virtues and errors, especially the absence of a character in a drama that will motivate and flat staging of the filmmaker. While images are projected in a movie recounting the misdeeds of the romantic thief, the public looks at these with expectation, since the dish of the night is about to appear: the father of the star, who begins to narrate before the astonished audience how was the life of your child. We can see a clear intention of the filmmaker and writer in the spatial location: a documentary linking the word of someone who, under normal conditions, could not lie about the life of Dillinger , ie, the claim of the tape is to draw the portrait as verismo (almost objective, in the manner of Zodiac ) on a figure that throws so much light and shadows and mythomaniacs historians. But just as we must again look at the location of the character, the focus of a movie theater: the screen. Contrary to Godard, the film is 24 lies per second, and if not lies, deceit and half truths if, and this movie is not nothing but a great half-truth that takes a lot of famous events in the life of this criminal but that he drops his pretense of reality to end up being a mediocre action movie quickly forgets his characters .

Dillinger is presented as a trigger-happy psychopath bloody but not justified solely because. There is therefore a mythologizing and sweetened version of the legend, on the contrary, somewhat surprising at the time, since we are not proposing the classic vision of a modern Robin Hood charismatic, if not the life of a patient desglamourizada revenge that is capable to kill in cold blood after playing with the victim, and even as a coward who is afraid of the dentist's chair. But all are mere sketches that are sensed and are never displayed. Tierney's interpretation is reduced to an angry face, while making saves paper that counted for a few moments, go through the mind of the thief, especially in the minutes before his death, lurking like a wounded animal in its burrow. We therefore have many side only act as puppets of Dillinger but have no vocation of character, are only turned into actants whose function is to die or betray the protagonist. Especially curious is the case with Specs, who introduces him to the crime world Professional (formerly a bumbling thief who stole to pay for drinks for women, his real weakness and the cause of their woes, another thing not being exploited). Their relationship is perhaps the best set in the script (being very generous), and yet forging a quick and inexplicable, and a leak so we have the player in the group of thieves. Nosseck narrates, describes and narrates and does not stop at any time to analyze why you're telling, for example, in case bleeding from the important (and most overlooked) antihero relationship with his mistress, just as do not know why they decide to go out with the guy who stole it. Therefore, we to fully contextualize the diffuse and complex to follow. Coping

narrative tempo of a film is a litmus test of a director. Coincidentally, the Series B Dillinger (even say Z series) was released the same year the master Detour, Ulmer. In it, the Swedish filmmaker showed extraordinary talent when it comes to dilate and contract the time at will. The psychological game in which Tom Neal plunged to a small production ended becoming irrelevant in a thriller studied and imitated for his outstanding staging and sound script. In Dillinger, the constant use of ellipses makes the temporal notion is unclear and the feeling that the scenes never really goes no relevance, since some of them fail, not 30 seconds. In the first five minutes we saw as the main character has won for the first time, entered the prison and has left it. The story ends up in a chained sequence of robberies and murders without rhyme or not bored too much due to celerísimo assembly and the short story, since it take two hours at this pace would have made mediocre German filmmaker in a clear precursor Michael Bay. We can only emphasize a remarkable moment where the director lets out a bright idea as ingenious gag which looks set to steal, and the intelligent use of off-camera, ended up seeing that it is a ticket (curiously, this personal capacity, was an idea that first race rolled on to a practice, so I'll throw flowers), or the transition intelligent escape from prison chained protagonist's buddies with a bank robbery. In contrast, some moments that should be peaks are resolved in a hurry, probably because of the lack of economic backgrounds, especially theft. If we saw that Melville used a deliberate style to show the criminal actions as a ritual, taking all the time in the world (as witnessed by the 15 minutes devoted to theft The red circle ) Nosseck seems uncomfortable with this time and is loaded at a stroke any epic or suspenseful possible Dillinger becoming a collection of some unimportant scenes.