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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.

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Moon: identity (de) constructed



ORIGINAL TITLE Moon

YEAR 2009 TIME: 97 min. COUNTRY: United Kingdom


SCREENWRITER DIRECTOR Duncan Jones Duncan Jones, Nathan Parker Clint Mansell

MUSIC PHOTOGRAPHY
Gary Shaw CAST Sam Rockwell, Kaya Scodelario, Matt Berry, Malcolm Stewart, Benedict Wong, Dominique McElligott, Robin Chalk, Kevin Spacey
PRODUCER Sony Pictures Classics / Liberty Films UK

First British film director Duncan Jones after his 2002 short film Whistle written by Nathan Parker. Has allowed its young director to win the BAFTA for best British newcomer director last year and win best film at the Sitges Festival.

Apparently, and I stress it's apparently Moon tells the last days of Sam Bell (Sam Rockwell) in the job has been occupying the last three years as supervisor of a mine planted on the moon. Good family man, Sam the hours you have left to be with theirs. But something strange starts to happen when Sam begins to feel more tired and have visions and, finally, this causes an accident that awakens without any problems ... or so it seems.

Life on Mars, magnificent sci-fi detective series of the BBC, he dared to place his protagonist, Sam Tyler, in a past time without any of the comforts of being a cop in the present, no CSI techniques or their research teams. But the important thing was not that, in fact, police cases were fairly predictable. What I really wanted was to place the character before the world, observing their reactions and dizzy, with the audience, who looked bewildered by the madness of the trip to Manchester police. As read opening the legendary series, is it a dream? Are you in a coma? Or realmene has traveled through time? I quote this masterpiece of television because Moon nothing is as it seems, and follows a very similar game in the confusing network. Fairly intelligent and not at all tricky, the story gets put to the viewer straight into a Kafkaesque nightmare that is becoming as we cleared layers of fabric. Right? "Lie?

entire film is based on that game between reality and fiction about the identity of Sam. The miner is one of the kaleidoscopic creations the big screen has seen in recent years. Presented as a sober man, simple, hardworking, we discover, with him, the chilling reality of a life modeled, carved in minute detail. As one who dared to set foot outside the cave and tried to warn the rest of the shadows were mere illusions. Especially noteworthy in this sense the presence of a city created by Sam Wood (plural) over time, it is not only the first mirror, as viewers, we are facing. Sam you have been placed in a false room in a false reality. As he does with his toys. So when the new Sam appears, the model completely detruye trying to find a way out. When a man finds himself, when man sees in the mirror as it is, is when it really is able to act consistently. This occurrence, hedge funds, the presence of self, causes a particularly ominous development. If before kafka quoted by Sam living nightmare, unable to contact the bureaucrats withheld, must do it again. If the new Sam has learned from its mistakes, has seen what the real world, while the original Sam is destroyed, remembering also the recent District 9, which put the character helpless in the hands of a multinational I worked feverishly. Like the selfish Wikus film Neill Blomkamp, \u200b\u200bthe character finally understands his fate and accept the sacrifice as necessary to give yourself a chance to start from scratch, delete the experiences of the cave to take a chance on earth, in the real world.

is because we are dealing with an issue latent in society, the omnipresent control of multinationals and the ability to control ourselves, to create us as serial fashion. Living in a sterile world, completely distorted the colors to be removed in a truly minimalist design space, seems to put our character in a non-place, a void in the middle of nowhere, where every room has the same aesthetic and whose only company is an artificial element (Magnificently voiced by Kevin Spacey) to, the vulgar, to give talk. As envisioned in Bradbury Fahrenheit 451 in the future would be absorbed, living through screens and we would ask anything. And the robot also marks a curious point in thinking about Sam's own identity. In a lifeless place, where everything is created and there is nothing organic, evolving machines themselves, have the ability to seek to be something for which they are not designed. As Roy Batty in Blade Runner as Wall-E in the movie of the same name, the machines aspire to be, and Gerty, who was created to serve the multinational to the Sam works, and to withhold information all the time, brings an empathetic relationship with his "boss" and choose to break the chains, face his creator, and sacrifice because he is "so that Sam is right." A decision that, while it may seem positive for the character (actually Gerty is all that is left) leaves the question of whether something is human or Gerty Sam has helped him out of empathy "cybernetics" by pure compassion and knowing that has nothing.

But Moon is also a way to understand and create films. 3D currently reigns in the lockers. Avatar has filled rooms in the middle of a crisis and every self-respecting blockbuster film seems to need a wash face in post so that people will pay twice as much for her. Overflowing with special effects, breakneck pace and always insane ability to stun the viewer through synergistic stimulation thousand not realize that is not really witnessing nothing more than a few extremely well-made digital dolls. Moon commitment to the drama the character and an impeccable production of a very classic understated style. Without additives, with the special effects just and necessary, the tension rising, and outstanding performance (twice) Sam Rockwell, Jones comes out triumphant at the time of recovering the humanistic style of science fiction with few weapons but excellent employee. Without seeking the suspense or surprise (when Sam has the accident, the assembly consists of a cut to the new Sam, there is no effect), Moon overwhelms the ability to reach viewers directly and his outstanding final half hour, which compensates for slight errors in the script.

therefore be said that without revolutionize science fiction (not so intended, really) did rescue the aged flavor of the most humanistic of the genre productions that occurred during the 60, 70 or 80 and used spacecraft , cyborgs and other (already) entelechies to ask what is man. Moon is brave in spite of its lack of innovation. And it is for his honesty and romance, and who dares to tell a little story and well basted in a genre from the 90's used to stun the mind of the viewer with a montage frantic and ultra-realistic special effects that go beyond the perceptive capacity more than one. Therefore, it can not be more than welcome for this great achievement made by Duncan Jones. Hopefully know more about him as filmmaker and son of David Bowie.

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The hero and the legend: Indiana Jones and the latter one cross

I do not know if it is a statement of an eminent philosopher, a famous verbal grandly of an idiot as the writer this comment, or he just happened to the idiot who wrote this comment, but the phrase that every great person or every great hero is a child of his time, could not be better used to describe that great heroes of cinema literature. And these are created by brilliant writers hired pens looking for a monthly salary that will bail out those who bear the cost of the bohemian life. In turn, these writers have a different way of seeing their hero by the time you have imagined, and also the period in which they located, as a model of attitude never be located equally in any time period. And again, these writers will influences a completely different in appearance to build their characters fetish, but almost everyone has a prototype that usually follow to the letter from which Cervantes sacase of the hat his Quixote. He is the father of the novel (adventure) modern. What I say father! The grandfather of the novel (adventure) modern! That cynicism sometimes outside the consciousness of the protagonist, that disappointment in the narrative of events, the disfigurement of the figure of the romantic hero of the chivalric romances of Roland and the Cid, was perhaps the biggest change in literature past five centuries. Coincidentally, it was written in decline of the English colonial empire, one that did not set the now waning sun and so Espido, and in the literature resulted in the culmination of perhaps the best book ever written. Don Quixote was the son of his time, as later were the romantic musketeers Dumas, the cynical and cocky detective par excellence, Philip Marlowe, eldest son and darling of the chronicler of the dark side of life that was Chandler, the quixotic Arturo Bandini dreamy loser devised by John Fante, or strictly cinematic characters such as Leo's unnamed man, the moral and unjustly accused of fascist Harry Callahan, Han Solo, captain left intergalactic, and heartthrobs heartthrob, (anti) hero par excellence of modern cinema and the biggest myth created over the past 25 years, Indiana Jones.

What better example to talk about a hero and his time as the good of Indiana? Subtle mix of characters that Harrison Ford himself had interpreted as the already named Han Solo, but tender chuloplayas something charismatic character in Star Wars robaplanos or post-Lost Ark Rick Deckard, blade runner capable of killing someone from behind if with It gets more money and get work done faster. Indy is the perfect (anti) hero emerged from the minds of two pro cinephiles and jugglers first film as Lucas and Spielberg, especially the first. He also creator of Star Wars is the true architect of the construction of this character mode, although it's ironic considering the outcome, asaltatumbas: a little cynical rogue Bogart The Treasure of Sierra Madre , honesty and courage of Gary Cooper's Bengal Lancers Three or Beau Geste, a little bit of the incredible and exaggerated self Connery's Bond and perhaps a little bit of touch Tintin bookworm. A boring teacher (I've Ever wondered what happens to their students' career should be planned for 10 years) only craves the adventure away from the conventional world, changing tests, secretaries and students fall in love for treasures unimaginable treacherous bad character and damsels in distress more or less, devolving from Marion, drunk and quarrelsome, more comfortable in dress pants, until the third girl Indy, the nymphomaniac of doubtful character Ilsa Schneider, through the pert and somewhat tiresome Willie. This combination was a perfect mixture, as a Quixote eighties, subverting those models they copied and painted with a new ironic twist away from the ideal hero Robin Hood type of Errol Flynn, more in keeping with the period of disenchantment is lived with titles debunkers and disbelievers as Robin and Marian or Excalibur. These were darker and violent than the classic views of the same characters who had become accustomed to the older age groups, forming a breakaway leading business to which the pen of Lawrence Kasdan and his supernatural plots and a spectacular and careful staging of Spielberg knew place in the place it deserved in the first installment of the great archaeologist. And it is precisely where the first part becomes Indiana Jones and the Last Crusade , a title that perfectly exemplifies the star level that reached the character throughout the decade of the 80 that have made him a character that reaches deep into parents and children who share a hobby together, where, unlike the first adventure of Dr. Jones, called Raiders of the Lost Ark , now the character and not the story itself is a reason for the viewer to see the film runs. Pure evasion where the subtext is always present, is buried in bright King Midas planning and charisma of Harrison Ford direct to legend, led by a George Lucas that exploits the reef in a rush, and we are pleased that we do so.

The turning point on this part is, as I said, returning to the origins of all, the return almost unconscious at the beginning of the legend, much of the film, with a structure based on that of the first part, and the character of Indiana Jones himself, who will live a little trip into the past of his memories of the film along with the appearance of Dr. Jones Senior, a wonderful portrayal of a charismatic Sean Connery. And it all starts quite allegorical one of the best and most imaginative sequences of action-comedy trilogy, which is saying a lot seeing sprawl Spielberg talent in the planning of each chase or fight. Although during the trio's previous films skull has deconstructed and demystified the classic hero in various ways (ridiculing and hurting in the fall, in addition to never losing his hat, always placing an X in the place where the treasure is, apart from setting his mouth witty phrases drawn from the best comedies glamorous hollywodienses of the 30 and 40 in their duels with Willie Scott verbose in The Temple of Doom), here show us how this hero is constructed with a miracle of assimilation of the authors and great job of camouflaging of River Phoenix's own character simply an amazing opening sequence that paid tribute openings those James Bond films where the character had not yet fallen into mediocrity, and presenting it as the first: with a clever play of shadows and identities that confuse the viewer with the real Indiana. And is that the self-consciousness sometimes greatness is often a sin that makes movies fall into the complacent vulgarity exploiting the fame of the character or the film. But Spielberg and screenwriter here manages to tell the traumas and weaknesses of the hero while we have that for which it is always remembered: his fedora, his whip and his scar. And also outlines what characterizes him: his sincere philanthropy, its interest in giving people what they deserve, and away from hands that only seek to exploit things for their own benefit, whether economic or to conquer the world. It is the hallmark of Jones, kindness and honesty above anything. But from here, start the torrent of feelings that is the third installment of the adventures of the legendary archaeologist where Templar is the third brother who is given the grail for protection in a superb scene where Donovan given a simple glass of champagne. That's economy of means and narrative maturity.

The great success of this film is it more comedy than action movie, also lowering the tone was darker than reproaches The Temple of Doom. Limiting the importance of the script to a succession of action scenes interlaced with great and unforgettable gags, Spielberg moves away from the supernatural plot in search of the Grail and focuses on the duel, parent-child reunion and the hero's emotional deprivation Jones, a character who had to grow up alone and so, or perhaps because of it, became the self-sufficiency and cynical it is today. Never forget that, although the action is an important part in this modernization of the classic serial adventure film is overflowing with humor and absurdity in what sometimes imperious queen throughout the film, and to be adding to as the series progresses. While the first film had in the film drops its mejors Smite and gags, the second interpretation back to those duels between Cary Grant or Spencer Tracy and Katharine Hepburn with dialogue full of ambiguities and double meanings, and this third foregrounded Odd Couple charged a chemistry reminiscent of that formed by the very Connery and Michael Caine in The Man Who Would Be King , perhaps the most wonderful adventure film classics of cinema history. In a constant tug of war, a succession of hilarious sequences completely take over a plot that turns out to be a mere extension to enable McGuffin dialectic between father and son, sometimes replaced by the also hilarious and some simpleton Marcus, endearing interpretation by Denholm Elliot. McGuffin said only gaining momentum at the end of the tape of Indiana begins to see that the Grail is not more than a metaphor for the search that will serve to meet his father, typically spielbergiana idea because father absence is always a reason appellant in the filmography of the teacher.

And is that the Indiana Jones movies always go further. In the classic adventure film is a treasure sought to speak of ambition, and perhaps that criticism of the ambition of the adventures have also devised by Lucas, as exemplified by the cases of Belloq in part or Elsa Schneider in the third But what stands out is that these virtues are always sacred treasures. Thus, it gives the story an almost spiritual at certain times, making a short analysis of the relationship of man with God and their possible existence, because the trilogy requires practically the belief that there is a superior being, whether called God or demiurge who rules the destinies of the world, and here is used to strengthen (and how) the figure of the father and the son and the exciting Grail and the final test value which is subjected Indiana. But we must not forget that in some movies the McGuffin is no less so, a McGuffin, an excuse used to articulate a great entertainment around her characters very very good and very very ill and whose initial interest is at the expense how to advance the story and, above all, as do the principal for not boring the near absence of a central historical framework, and that's the case of the Indiana Jones movies. Are a continuing comedy-action game where Spielberg gives wings to his impressive talent. In them, creating a spectacular action sequences while the best gags funny wheel of his career and allows the viewer to travel to distant lands, to confront the Nazis and experience firsthand the unbelievable fact that the talent of a good storyteller out its full potential and deliver a complete and unequivocal masterpiece, a copy of that movie is ousted as cinema entertainment must flee those who love arthouse over the pure conception of cinema: entertainment .