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.
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.
0 comments:
Post a Comment