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.
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.
0 comments:
Post a Comment