West, the real. For their first western, the Coen brothers adapt the novel by Charles Portis already filmed by Henry Hathaway in 1969 hundred dollars for a sheriff . Although the brothers have vowed not to have made a remake but a new implementation of the book, it was an opportunity to disrupt the codes of the original film, very dated, and thus impose their claws. But the ways of the Far West appear to be on tracks too narrow for the unbridled imagination of Coen.
the death of his father, Mattie Ross (the promising Hailee Steinfeld), fourteen years, wants to avenge the death of his father shot in cold blood by Tom Chaney (Josh Brolin, sacrificed). It entrusts the mission to stop the dangerous bandit in Cogburn marshall (Jeff Bridges), an alcoholic sheriff with a very personal conception of the law. Seconded by Texas Ranger La Boeuf (Matt Damon), also in search of Chaney, a ride that is committed in broad daylight illuminates the motivations of the three characters ...
The Coens have made false westerns that told the story of America and its foundations. No Country for Old me n one of their masterpieces, resumed a basic premise, a fugitive pursued by a killer himself chased by a sheriff but revolutionized the bottom. The most chilling terror skirted the most absurd black and ended on a shocking note meditative. With True Grit , the Coens seem to land in marked and we recognize their unique visual sense from the first scene: the voice of the girl, a plan emerges gradually revealing the house of the murdered father. The camera moves slowly over her body before drawing up a sublime fade with the arrival of the girl in the city. Subsequently, jokes, shows the persistence Mattie stop fighting over the passivity of the authorities. In a sequence of ping pong verbal sharp, the girl does not let anything in front of the notary of the city to get what he deserves. Replicas fuse, percussion, and the show seems so assured.
Hailee Steinfeld and Matt Damon
He continues to look better with the appearance of thunderous Jeff Bridges, airs brilliantly in his dirty old clothes sheriff outlaw. The fights between him and Mattie are jubilant and the arrival of Matt Damon, a Texas Ranger and very secure him a bit ridiculous junk in his vanity, adds to the fun of the trio.
But the narrative flow more and more the staging of the Coen becomes functional, mechanical. Certainly, the incidents are linked together with ease and talent as a storyteller is in no way challenged. But the filmmakers had known up to now take ownership of a kind they resumed their account by upsetting its codes. Here, the codes are learned so applied without the madness and the incongruity of the brothers reflected. A man comes out of nowhere dressed in a bearskin, that's probably the only image really unexpected True Grit . And when the film looks like a fairy tale, the Coens, lazy, do not develop their characters more rooted in their archetypes. At one point, however, the sudden loss of innocence of the girl pops up in a beautiful nighttime sequence on a rooftop, where Cogburn says his exploits of yesteryear. Mattie's face, beautifully lighted by Roger Deakins lights suddenly stripped of its trappings of teen volunteer.
A pleasant diversion, funny (truculent sequence flinguage blind!), The fifteenth Coen brothers' film has everything a good western that will certainly please their allergic cinema. But turned away their fans come out frustrated and disappointed not to have been more surprised and shocked they would have liked. A not so fantastic ride in which the Coens seem to have poured into the mold cleanliness of the academy. To listen to mainstream music with their loyal and talented composer Carter Burwell, the myth of the West apparently did not need a replay.
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