At its premiere presentation at the Forum des Images, the editor of the magazine Positif Peter Weir said he had this peculiarity we did not really know where it came from. Conceal how to say, "You know the Australian and film is a bit like the dumb and the song, they can certainly open your mouth but they never released a record." Extrapolate a bit, but this thought out of nowhere if not the depths of a very Atlanticist egocentrism, gave me a little grated throat. Bazz Luhrmann of hateful and Robert Luketic to Paul respectable John Hogan (yeah right ... but Muriel was fun anyway, right?) Or Alex Proyas (Dark City especially ), the Australian colony was fairly well drilled in Hollywood and is far from represented a key if "exotic" in the cinematic landscape.
short, forget the interest of the new film by Peter Weir is not whether something is Australian or not. It is not in the fact that he had to wait 8 years between Master and Commander and Pathways to Freedom . The gossips will tell you that the sole interest of the film lies in these beautiful reunion between the director and Ed Harris, he had led in 1998 in The Truman Show , forgetting can be a great performance as Jim Sturgess we discover that literally or, more anecdotal of course, Colin Farrell in a contesting naive and ultimately sympathetic.
History tells us that Weir is an adaptation of the novel "A forced march " by Slavomir Rawicz's escape from a handful of men, freshly escaped from a gulag, which crossed Siberia, the Gobi desert and the Himalayas to reach India and flee communism expansion.
Noyant the harshness of her story in a sauce very melodramatic and overly romantic, this quest for freedom ventures over the dunes of foul English Patient by Anthony Minghella on the Traces of Into the Wild Sean Penn . Forced lyricism, shortcuts scriptwriting and choice of staging this controversial saddled escaped wild. Thus we have difficulty understanding the assembly of unintelligible evasion of the gulag. This is true for many cuts that seem Preferred scenic beauty to the harshness and violence of their flight.
Weir also appears to toil with its political context. Second World War, civil war in China, expansion of communism in Mongolia ... The charge against Stalinism and against internationalization of communism is one way. No one will deny the evidence of terrors of totalitarianism throughout the world. It just may doubt the relevance of the film when, after their journey, he is arriving in India, a jubilant any neat, as if India proves to be the land of liberty. Weir just seems to forget that until 1947, India was a British colony, fighting peacefully for independence and thus to secure his freedom to dispose of herself, against British imperialism ...
So if Weir, with an unwavering stubbornness and a severe lack of historical relativism, size with a sharp sickle in the cake rotting in the USSR and Stalinism, it wallows with equal ease in this viscous fantasy of the promised land. Its outcome is in turn a joke, of naiveté or moved when discussing such a topic. So that the incredible adventure of these men the courage unparalleled, becomes a little subtle demonstration of an ideology of ease. We would have liked Weir manages to infuse the same spirit clairvoyant who roared in The Truman Show, the same optimism that gushed from the young Dead Poets Society or the same naturalism that lived in his sublime Picnic at Hanging Rock . But it is unfortunately nothing ...
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