De Paul Haggis, screenwriter of Million Dollar Baby, and writer / director Crash , we can only expect interesting products, and In the Valley of Elah it is, a lot. Reminds many Vietnamese post-war films are in the minds of everyone, but departs from them enough to bring significant issues to postwar gender. Most important, in my opinion, is the narrative form. The viewer learns all about not through a narrative lin eal of the facts, but through a double source of information: a police investigation on the one hand, and the viewing of a film made by a soldier with his phone phone during your stay in Iraq, which damaged the other. Very original form, certainly. Haggis is seen in a willingness to style in this narrative aspect s Tell me also observed in Crash, which we appreciate those who give importance to these things of how to count.
The viewer receives the information paulatinam entity, while performing deeds that will have many edges . And what makes the pair of protagonists, a solvent Charlize Theron (put sexy or not give glory to see it) and Tommy Lee Jones (it moves increasingly fewer muscles to perform, such Morgan Freeman they seem to have reached the karma of the interpretation I do not know I do not know if I like that.)
There are two major metaphors in movies, both have been criticized, but I see them the meaning and effectiveness: the flag upside down and symbolism (albeit simple, of the biblical David and Goliath). Regarding the former, it is well resolved and final offers us a golden locked perfectly intelligible, no less than the Empire seeking help from others to guide you in your foreign and domestic policy ("to Europe, perhaps?) . As for the biblical allegory, it seems introduced with a shoehorn, especially the scene where it is presented, but it has its logic and function. First, because the selected text describes how educational philosophy of its speaker, Hank (Tommy Lee Jones), secondly, because the child gives moral significance when asked why they sent the generals allowed it to be a children who fight with Goliath (although the children themselves wanted it, a child is not owner or its own decisions.) If we relate this to the arrival at the headquarters of a new recruit - very young - we will establish sufficient nexus to justify the presence of these metanarratives.
In another vein, has been criticized on other occasions director certain amount of complacency within the critical and in style, a certain effect (use of slow motions, appropriate music for climactic moments, close-tear, etc. .) admit that when it has taken less of these resources has been difficult to awaken me from fiction in relief to see them and criticize them, so that some will say of their expertise, even so, I think this film does not resort to them only so obvious and plentiful. The narrative, in a first viewing, it certainly seems objective, apart from the naturalistic and sometimes morbid pleasure in the dismemberment of a corpse. Howsoever, seems much more objective than Crash .
For actors, I must say that the character of Tommy Lee Jones is very well outlined. He is not him, but the product of a given world, now with guilt complexes and about to topple over, desperately seeking at least bury their dead with some dignity, if not with honors of war by giving at least search for truth. serving a dual role: emotional and detective. is the Ariadne's thread leading to Charlize the discovery of the keys, precisely because he knows the keys to that world.
The brief forays into the social life of this military town are disturbing. The death of that girl who is reporting the torture he undergoes a dog by her boyfriend, a soldier, is shocking. The descriptive sketches hierarchical environment that city policy and politics of the military hierarchy are frightening in its brevity and emphasis.
I will not curl, just two notes on the evolution and the final. The movie is quite a descent into hell. The more you know the child's father is worse. The father goes in search of a hero or something that warrants a bit of everything, as happens in other films, but as you know, he learns more macabre aspects, cowardly and devastating. There is hope. The journey is the knowledge of the antihero, although this was in principle a kind of Emilio of Rousseau, but the war has become someone who believes unscrupulous fun impersonating doctor in order to get their hands dirty in the wounds open to the vanquished. Shocking.
I feel very good finish, not only by the metaphor of the flag, but the outcome of events. There are in the army orders not to stop in the streets and roads for the world as it could be an ambush. No stopping means sometimes be quite innocent lives ahead. And finally, the outcome of the central story, although all are related: "When I realized he was stabbing Mike" says a character - "pod like ed have been the opposite" . Whatever. Death is ridiculous, the war is ridiculous, the violence is ridiculous, grotesque. The father runs out of revenge. How to avenge a meaningless facts? The father-mobile looking courage, reasons, excuses and nothing is final. Nad a. have to go see it.
Health.
Tanhausser
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