- Publicado: Viernes, 28 Diciembre 2012 15:00
Zero Dark Thirty, another great work of Kathryn Bigelow. Excellent movie to start the year.
The director of The Hurt Locker proves again that speaks perfect keys known film mixed with intrigue and action movies much better than some of their male colleagues allegedly experts. Zero Dark Thirty Bigelow takes over from the TV series Homeland impressive following its own rules of style and their own way of understanding cinema suspense. The result is the best proposal suspense film that will have the opportunity to see in 2013. Throughout the projection of the Zero Dark Thirty I could not stop thinking about that Bigelow was doing with the hunt for Bin Laden as well as at the time did Alan J. Pakula with Watergate in All the President's Men (1976): an autopsy of the matter lies in the area of the films he directed Oliver Stone in his prime as forensic American empire in films like Salvador, Platoon, Born on the Fourth of July, JFK ... In fact, after seeing Zero Dark Thirty and while recalling The Hurt Locker think Bigelow Stone has stripped the post of coroner.
As was the case with The Hurt Locker, erred in interpreting some as a simple war movie, opine that this film has some vengeful character from the American empire, something that may not have happened in a film directed by Oliver Stone. But it would be unserious reduce the film to a simplistic explanation. The fact that Bigelow spend the first few minutes of submitting your story go over the victims calls the day of the attacks of September 11, 2001 is both an elegant tribute in memory of the victims as the most logical starting building your story at the beginning, and not at all, as some might think, a justification or vindication of torture sequences that we will see later or the methods used to hunt down Bin Laden. This is amply explained by humanity that gives the director the tortured and no makeup because it saves the very brutality of the torture. Interestingly, neither morbidly recreates them, because they are just another part of the road they have to travel to reach its denouement characters. A road that tells Bigelow without using any melodrama or sensationalism. So in torture there times when we put both side of the torturers and tortured without need for entering the game's visual or narrative subjectivity. If anything defines the film is so inclined to get involved in the research plot of the protagonist, a remarkable Jessica Chastain, from an objective standpoint eminently. It is an exercise that even more remarkable because the objectivity necessary to perform a difficult balancing act carefully measuring the distances to and follow the events as if we were part of them at all times while avoiding tricks free easy to empathize with the characters and get caught in monstrous and miserable farce of political correctness. Thus Bigelow gets very difficult in this type of stories based on real events and conducive to all kinds of hurt feelings on both sides: it is the viewer who come to their own conclusions. Thus less manipulative than they have always been cinematic autopsies performed on the major issues of the recent history of the United States by Oliver Stone.
Proof that with the objectivity that Bigelow does not renounce the suspense gets totally hitting on her from the first minute film projection with these voice-overs of the victims of the attacks found in the tension applied to the last twenty or thirty minutes footage, the actual enforcement operation. They are the great shot for a movie that I think manages to overcome any other approach that has been shot so far in movies about the war on terrorism. I said that I only find an equivalent of the same quality on television, in the series Homeland.
Special mention in this work to fully immerse in the plot deserves the job with the sound that shines throughout the film, we jump to getting those sequences that are disrupted daily apparently brutally shot or explosion. In an exercise in consistency, and the film reveals its true soul, his real subject, which is the interruption of normal and everyday caused by the bombings. Bigelow is careful to draw the landscape of disruption of daily life in several scenes as dinner and interview a potential agent uptake in the leadership of Al Qaeda. His film is a perfect picture of chaos crashing and demolishing the everyday. Since 11-S, 2001 all live staring into the abyss of the unexpected. In my opinion, Zero Dark Thirty is the film that has best draw that global collective sense on a big screen, as well as Homeland has done on television.
Miguel Juan Payán
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