The lies that led to the Iraq war and the desire of an actor to represent that part of America that tried to rebel: the ingredients of a film commitment in the diluted form of a consumer product except in substance is close in spirit to the desire to represent his own time and the men who belong to it. And in this sense, the film Doug Liman does not omit anything, the viewer participation of names and surnames and facilitating the reading of the rather complicated story that marked the lives of Valerie Plame, undercover CIA agent whose cover was revealed publicly by the Bush administration as a response to an article in which her husband denied the existence of a nuclear threat from Iraq. The film follows the story chronologically, focusing on the views of those who must defend from the attack of Leviathan, supported by written accounts of those who truly lived the history that Doug Liman is unable to avoid certain rhetorical emphasis especially in the exposition too Synthetic must not omit nothing of one of the reasons and others, gimmicks or too overt as those of friendship dinners included in the film in a systematic manner to provide through the impromptu lectures on the pulse of public opinion otherwise marginalized by a condition of isolation that characterized the lives of both spouses. Interpreted with unexpected restraint by Sean Penn seems to want to redo the vocation that was already liberal Redford / Hoffman in "All the President's Men" and nell'attore, in the places of the war to uphold the rights of the people helpless and victim predestined the American bombing, has an added value of absolute credibility, Naomi Watts and a professionally impeccable, Fair game is hard not to disappoint fans by political scientists and a lack of depth, as a strictly cinematic of all those who deal with such injustices invoke the Crusades and fury Calvinists. Actually be biased in fear of the film cools the pathos, trying to focus on the evidence of the facts. Not always successful, especially in the private side of prevailing dramaturgy easy to use, built by contrasting the honesty of the protagonists of the outside world to the underworld. Defects that can only partly explain the disaffection of the public trained to a very different roughness and instead must be sought by the poor cinematic appeal of the theme (the conspiracy of the new wars have never been rewarded at the box office) and the limited availability of two interpreters to flirt with an audience that loves to be fondled. Nevertheless, the film is best of hospitality received and deserves at least a vision.
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