the beginning was the Word. The verb of Dashiell Hammett, with whom he has carved gems like Red Harvest (1929, Red Harvest) and The Glass Key (1931, The Glass Key).
Then came the Coen brothers, Joel and Ethan. The pair we had, hitherto, for unloading a Blood Simple (1984; Blood for Blood ) already very dark and Arizona (1987) badly shaken. And when Joel and Ethan Coen have grabbed the world of Dashiell Hammett to their gangster film, they have not missed their breaks.
Then came the Coen brothers, Joel and Ethan. The pair we had, hitherto, for unloading a Blood Simple (1984; Blood for Blood ) already very dark and Arizona (1987) badly shaken. And when Joel and Ethan Coen have grabbed the world of Dashiell Hammett to their gangster film, they have not missed their breaks.
With Miller's Crossing is immersed in Prohibition, its corrupt politicians, his wives and inevitably fatal disorder, the Italians looking to mess with the Irish who make them well . Alcohol flows into glasses, gutters and veins of the characters.
But we are far away to jazz clubs flashy way The Cotton Club Francis Ford Coppola (1984), although also far from the bombast of Untouchables (1987; The Untouchables ) Brian de Palma. In Miller's Crossing , défouraille it, fire it, it sends ad patres, but almost no effects. Perhaps because unlike those films where the director feels obliged to turn handheld camera shake by adding to show how the action is intense (a method that works well, however, in some cases) photography is here particularly licked, asked (I take my borsalino in this regard, Barry Sonnenfeld). Perhaps also because the music is fairly unobtrusive.
The Coen brothers have done hands on the heritage of gangster movies, obviously. He does not miss a felt hat, not a long coat in camel hair, not a Thompson submachine gun with charger pie, not a fine car, not a shot twisted, not run in a foggy place. It lacks neither an Irishman or an Italian or a Jew or a Dane, an international facing the 18th Amendment to the appointment.
They took all the spoils, have shaken and added their own ingredients. Dialogues that are gnashing their teeth, the characters all so rotten that none of them can serve as a lifeline to the viewer, a plot more convoluted than the accounts of Al Capone, almost caricatured characters, but rendered credible by the interpretation superb actors (Gabriel Byrne, Albert Finney, John Turturro, Marcia Gay Harden, Jon Polito and Steve Buscemi, to name a few).
But we are far away to jazz clubs flashy way The Cotton Club Francis Ford Coppola (1984), although also far from the bombast of Untouchables (1987; The Untouchables ) Brian de Palma. In Miller's Crossing , défouraille it, fire it, it sends ad patres, but almost no effects. Perhaps because unlike those films where the director feels obliged to turn handheld camera shake by adding to show how the action is intense (a method that works well, however, in some cases) photography is here particularly licked, asked (I take my borsalino in this regard, Barry Sonnenfeld). Perhaps also because the music is fairly unobtrusive.
The Coen brothers have done hands on the heritage of gangster movies, obviously. He does not miss a felt hat, not a long coat in camel hair, not a Thompson submachine gun with charger pie, not a fine car, not a shot twisted, not run in a foggy place. It lacks neither an Irishman or an Italian or a Jew or a Dane, an international facing the 18th Amendment to the appointment.
They took all the spoils, have shaken and added their own ingredients. Dialogues that are gnashing their teeth, the characters all so rotten that none of them can serve as a lifeline to the viewer, a plot more convoluted than the accounts of Al Capone, almost caricatured characters, but rendered credible by the interpretation superb actors (Gabriel Byrne, Albert Finney, John Turturro, Marcia Gay Harden, Jon Polito and Steve Buscemi, to name a few).
I found the screen with this Miller's Crossing, all the darkness and complexity that I appreciated in the world of Hammett but Joel and Ethan Coen have managed to bring an extra dimension.
- Sheet Miller's Crossing site IMDB.
* * * * *
0 comments:
Post a Comment