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"American History X Tony Kaye

published in "www.filmedvd.it"

history of racism? History
sociological impact of Nazism? History
impact of the company diverted the youth of today?
American history?
American History X is all that and something more. The debut of Tony Kaye is mostly a story of rebirth. Death and rebirth. Of redemption.
Derek dies. As a young man, a boy falls into a black hole of violence, hatred, racism, omnipotence. Derek as a human being no longer exists. Like a fallen angel falls to hell. A hell without color, without life, where the only prerogative is to remove, kill, delete everything that is not a vision of life which he outlined.

The film has a clear structure in three parts, if we unfold the story in chronological order in which the events take place. This, one of Derek's death is the first part. Hell.
Purgatory, the second phase of this journey of redemption and rebirth that is the story of Derek is the prison where the soul of his fallen angel takes self-awareness and the world. Derek comes back to life, including who he is, understands what he has done, including especially those who are his companions and what is the blind hatred and absurd to whom he paid attention until now. Derek redeems himself, not only legally, but also psychologically.
Now, in such a movie, the third part, that of returning home, the one where the color back to fill the frame, should reflect the Paradise, but American History X is not too realistic to know that in Paradise Earth does not exist. And so the sins committed by Derek can not be fully purged and the tragedy it would mark a life, reminding him forever when he died.

American History X "was the victim at the time of a strong contrast between Kaye and the production that was imposed on the very neo-director who had to give up the decision-making power of the final-cut. So in the final product is difficult to distinguish between what is really the result of the director and what they have been imposed by production. We do not know, for example, who bears the burden of narrative structure and the decision to split film, half black and half white in color, or mix the order of events. In both cases, however, anyone who is responsible, I feel that I need to congratulate you on your choice. As already mentioned the B / W or color is to indicate the two different lives of Derek, one before and one after the redemption, after purgatory. The order of events, in which we see first from the Nazi past of the protagonist, then the state of his redeemed, and finally the most important element, The key aspect of the film, which is the prison. The risk was so strong that a smooth transition between the old and the new Derek Derek is completely opposed to each other spoofing of results if the events of the prison did not have enough strength and conviction to explain the mutation. The risk, however, the course has paid off. What happens in prison, Derek is not only credible, but "right." In the sense that is now stuck in this crazy project of hatred and revenge that is racism. Executioner now finds himself a victim. Victim of his own "brothers". This slap in the face of reality leads him to see everything with more clarity (this is still the transition to color). A blow so strong that even if not experienced first hand, manages to convince his brother to make the right choice is to abandon that road. But as has been said, there is heaven on earth and it's too late. For one who comes back to life, someone leaves forever. This is American history, one with a capital X.

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" No Country for Old Men "by Joel and Ethan Coen

Here we go again. It happens all the time (or almost) that there is going to talk about a movie based on a novel. Of a film inspired by a work letteraria.Ogni time jumping out of the dilemma. You can talk about an adaptation without considering the original work? You can judge a film without having read the novel?
Obviously the answer can not be unique for every film. In some cases even becomes useless, as the works of Stanley Kubrick that all adjustments are almost as many literary works. But the genius of Kubrick and his unique conception of cinema, each film makes absolutely independent of the literary source in effect making original stories. In other cases it is only right to also dwell on the novel and see how the story was carried on the screen.
One such film is "No Country for Old Men," based on the novel by Cormac McCarthy, one of the best adaptations of recent years. The Coens brought to the screen in a as close as possible, almost scientific, all the tension, all the charm and all the wonderful dialogues McCarthy amplifying the beauty through their undoubted talent.

Many of those who have read the book by the Pulitzer Prize American may think that the work of the Coen was easy. Even more if you wanted to stay true to the book. You do not even have had to commit much to write dialogue and to create characters. It was all in the pages of McCarthy. But things are not so simple. Why is one thing to the written page, the story in words and quite another thing and tell the same story, the same scene, the same box on the screen. Meanwhile, it is necessary to select, divide what needs to be maintained by what the screen will not work. We must carve. And in this the two brothers of Minneapolis were fantastic, showing great mastery of the structure and rules of narrative cinema, film knowing grasp of situations, adapting them where appropriate to the needs filmic and removing dead branches (for the film of course) that would were too many, if not harmful to the growth of the organism-film.
The other difficulty is to transform a scene from Cormac McCarthy in a scene of the Coen Brothers. "No Country for Old Men" although not born from an original is in effect a work of Coen, in fact it is probably the sum of all their work, their extraordinary ability to use the medium of film at 360 ° to create what is as close as possible to the concept of myth. The Coens' work can be seen as a modeling job, almost like clay artisans who shape a three-dimensional figure so far existed only on paper in the form of sketches. A character like that of Anton Chigurh, the killer with the compressed air cylinder (McCarthy's idea) that the Coen THE killer shape for excellence in giving them sheer folly. The haircut is perfect Bardem, saddled with a grotesque element of the grotesque character who has nothing. Because of its apparent buffoonery, violence Chigurh is even more savage and more terrifying. The stage presence of this character has no equal. When he enters the scene, it seems to assist the entrance of Darth Vader. You do not know what to expect, but you know you will not be anything positive.

The way the Coens use the "unseen" (I am a very few deaths occurring on the screen, it often arrives on site after the fact), the suspense, tension, through a slow pace that makes the story at the same glacial time, meticulous and adapted for reflection. The glacial and meticulousness with which Chigurh and Llewelyn flee and chase and the reflection of the man too old to keep pace with a world no longer suitable for people like him. Sheriff Bell, narrator and moralizing, is our involvement with the no country for old man where we feel out of place.
The sequence of the motel, the dialogue between Chigurh and the gas station, the flight of Moss being chased by the dog (a picture of breathtaking), the dream of Bell are dozens of scenes of absolute perfection, giving the film an aura by masterpiece. The perfect expression of "No Country for Old Men" the dream final of the sheriff, summary of contrast between old and new. In the darkness and the cold that has plunged the world, those who grew up in is back, still lost. But somewhere, perhaps in our past (the father) can still find a light to guide the journey. And that "And then I woke up" it falls back in a moment in everyday life. Magistral.