w oczekiwaniu na premierę PE, która już za... 3 dni!!! chciałbym wam pokazać bezspojlerowy kawałek recki, idealnie oddającej charakter najnowszej twórczości Manna (wszystko zaczęło się Aliego, później przerwa na user-friendly Collateral, a potem wiadomo):
Backstory? Forget it. Motivations? Never mind. This is a movie that exists completely in its own moment -- not in the past, not in the future. (And maybe that says the most important thing there is to say about Dillinger.) Very much like Michael Mannâs previous film, 2006âs Miami Vice, Public Enemies drops us right into the middle of one of the key moments of American law and disorder... and it leaves us to float, if we can, without anything to hang on to except what flotsam and jetsam we can find around us.
Iâm not sure thatâs a bad thing. But it is an intellectual thing, which means itâs not the kind of thing that American audiences tend to want from a movie. This isnât a âletâs go have a good time at the multiplex and forget our woesâ kind of movie. Itâs a âI really want to think about what Iâm watchingâ kind of movie. Which probably means itâs doomed, from a box-office perspective.
Deep into Public Enemies the little voice in the back of my movie-critic head was saying, "Okay, sure, itâs full of raw grace but itâs kinda emotionally cold... and so why am I so caught up in it anyway?" We donât know Dillinger by the end, but we do get him. Maybe thatâs the most modern thing of all about this frustrating and fascinating film.
Backstory? Forget it. Motivations? Never mind. This is a movie that exists completely in its own moment -- not in the past, not in the future. (And maybe that says the most important thing there is to say about Dillinger.) Very much like Michael Mannâs previous film, 2006âs Miami Vice, Public Enemies drops us right into the middle of one of the key moments of American law and disorder... and it leaves us to float, if we can, without anything to hang on to except what flotsam and jetsam we can find around us.
Iâm not sure thatâs a bad thing. But it is an intellectual thing, which means itâs not the kind of thing that American audiences tend to want from a movie. This isnât a âletâs go have a good time at the multiplex and forget our woesâ kind of movie. Itâs a âI really want to think about what Iâm watchingâ kind of movie. Which probably means itâs doomed, from a box-office perspective.
Deep into Public Enemies the little voice in the back of my movie-critic head was saying, "Okay, sure, itâs full of raw grace but itâs kinda emotionally cold... and so why am I so caught up in it anyway?" We donât know Dillinger by the end, but we do get him. Maybe thatâs the most modern thing of all about this frustrating and fascinating film.
14-07-2009, 13:47
