"Il buongiorno del mattino" (Morning Glory) è una commedia che ricalca con poche variazioni personaggi e situazioni di un campione del genere come “Il diavolo veste Prada”: anche qui c’è una giovane di belle speranze alle prese con un moloch lavorativo; anche qui il mondo si divide in buoni e cattivi senza alcune sfumature e la televisione come la moda risulta allo stesso modo affascinante e crudele. Se poi il punto di vista del film corrisponde a quello di un personaggio la cui centralità è il frutto di una scelta soggettiva piuttosto che meritocratica, Becky come Andrea la segretaria di Miranda Priestly è una pedina del sistema valorizzata da un primato assegnatole dall’esterno rather than by evidence derived from the context in which it operates where the palm instead of the record is held by others, then the similarities become almost imbarazzanti.D 'hand moving in a situation of removal of much concern to the general aspects of reality, cleaned of any complexity that those individuals, conditioned by continually repressed sexual impulses if not completely absent, Comedy Puritan while remaining attached to their traditions in the construction of his stories, with the usual dialectic between opposing characters who end up loving each other, and in the dialogues, even if controllatissimi you would have us believe otherwise, try to bounce back by adopting a format intergenerational happy as fat cats Harrison Ford e Diane Keaton, bloccati una recitazione così legnosa da contribuire non poco all’insuccesso del film, e nuove leve dello star system hollywoodiano come Rachel Mc Adams, in odore di santità per la partecipazione con un ruolo importante al nuovo film di Terrence Malik e qui impegnata ad interpretare un concentrato di virtù così esagerato da risultare incredibile persino ai fans più sfegatati.
Un tentativo destinato a riuscire quando le Muse ispirano i propri adepti (è il caso del Jack Nicholson di Qualcosa è cambiato o della Streep nel ruolo della perfida Miranda Priestly ), ma il più delle volte semplice stratagemma per ampliare la fascia d’età dei possibili fruitori. E questo è appunto il caso 'Morning Glory', title of the TV show as a backdrop to a story focused on the attempts of a young producer to avoid the cancellation of that program, heavily influenced by the poor attitude of an old journalist forced to run from a contractual clause unearthed by 'tirelessly for this girl and decided to thwart their efforts. Monopolized by the conflictual relationship between the two semi-serious contenders and lightened by the interventions of other actors, including those of Diane Keaton strongly downgraded from a screenplay that reduces its role to nothing noisy, the film remains on the surface of things, promoting a falsely criticized work ethic but in fact established in planning a double that in the final scene of a chapliniana finds its apotheosis sad, and reducing television and its liturgies in a series of anecdotes, sometimes funny and sometimes annoying, accompanying the controversy known to the happy ending. Last example of a type in a seriously depressed (Albert Brooks has done even worse with the disconcerting "How do you know?"), The film directed by Roger Michell marks another step in favor of those competing products while remarkable for their arrogance Minutes and a certain sloppiness however can communicate with their audience, building a clear identity, exactly the opposite of what happens in "Morning Glory".
Un tentativo destinato a riuscire quando le Muse ispirano i propri adepti (è il caso del Jack Nicholson di Qualcosa è cambiato o della Streep nel ruolo della perfida Miranda Priestly ), ma il più delle volte semplice stratagemma per ampliare la fascia d’età dei possibili fruitori. E questo è appunto il caso 'Morning Glory', title of the TV show as a backdrop to a story focused on the attempts of a young producer to avoid the cancellation of that program, heavily influenced by the poor attitude of an old journalist forced to run from a contractual clause unearthed by 'tirelessly for this girl and decided to thwart their efforts. Monopolized by the conflictual relationship between the two semi-serious contenders and lightened by the interventions of other actors, including those of Diane Keaton strongly downgraded from a screenplay that reduces its role to nothing noisy, the film remains on the surface of things, promoting a falsely criticized work ethic but in fact established in planning a double that in the final scene of a chapliniana finds its apotheosis sad, and reducing television and its liturgies in a series of anecdotes, sometimes funny and sometimes annoying, accompanying the controversy known to the happy ending. Last example of a type in a seriously depressed (Albert Brooks has done even worse with the disconcerting "How do you know?"), The film directed by Roger Michell marks another step in favor of those competing products while remarkable for their arrogance Minutes and a certain sloppiness however can communicate with their audience, building a clear identity, exactly the opposite of what happens in "Morning Glory".
(Published on ondacinema.it)
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