sexta-feira, março 23, 2007
The fountain
An interesting, potentially wondrous concept but one can not help but feel that the director lost it somewhat in the process.
I would have spent less time dwelling with the Inquisitor, it was vulgar gore and added little, if anything, to the story. And would have kept the flying bubble as a metaphor for time, isolation and also the protection dome of love - rather than a trip to a dying star.
But the close-ups and the plays with the dark/light contrast are at times truly (Rembrandt) wonderful and so is most of the acting of Hugh Jackman - showing us the tender side of Wolverine - conveying the unbearable sadness of loss.
At one point, Tom/Hugh is back at the office of his laboratory and sweeps clean the desk, once, twice, throwing every item on the floor, in anger and desperation. By the third time, there is nothing left on top, his hand just dusts the surface, as if pointlessly trying to straighten the covers or smoothen his life.
The next shot shows only a greyish pattern, a woven metallic fabric with two crossing flat pieces of metal on top. As the camera backs up, we see it is the wall of the elevator at the hospital. Tom is looking at it as perplexed as we are; his life is changing uncontrollably, the world feels different and strange.
At the end, Tom (Tom Creo - believe) accepts that he has to write and close the chapter, as his loving wife had been warning and begging him to, and come to terms with the fact that he has lost her. He dies, in a way, so that he can go on living.
0 comments
I would have spent less time dwelling with the Inquisitor, it was vulgar gore and added little, if anything, to the story. And would have kept the flying bubble as a metaphor for time, isolation and also the protection dome of love - rather than a trip to a dying star.
But the close-ups and the plays with the dark/light contrast are at times truly (Rembrandt) wonderful and so is most of the acting of Hugh Jackman - showing us the tender side of Wolverine - conveying the unbearable sadness of loss.
At one point, Tom/Hugh is back at the office of his laboratory and sweeps clean the desk, once, twice, throwing every item on the floor, in anger and desperation. By the third time, there is nothing left on top, his hand just dusts the surface, as if pointlessly trying to straighten the covers or smoothen his life.
The next shot shows only a greyish pattern, a woven metallic fabric with two crossing flat pieces of metal on top. As the camera backs up, we see it is the wall of the elevator at the hospital. Tom is looking at it as perplexed as we are; his life is changing uncontrollably, the world feels different and strange.
At the end, Tom (Tom Creo - believe) accepts that he has to write and close the chapter, as his loving wife had been warning and begging him to, and come to terms with the fact that he has lost her. He dies, in a way, so that he can go on living.
