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„Noi” | Anatomia unei scene
Jordan Peele povesteste o secventa din filmul sau.
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„Sunt Jordan Peele. Sunt scriitorul, producatorul si regizorul filmului „Noi”. „Exista o familie pe aleea noastra”. „Deci, aici avem scena in care familia legata ajunge pentru prima data la casa Wilson. Jason, desigur, spune ca „exista o familie pe aleea noastra”. O linie conceputa, in mod vertiginos, pentru a incerca sa fie o linie iconica, cum ar fi „sunt aici” din filmul „Poltergeist” si un fel de ajutor pentru a congela acest sentiment al unei situatii de tip Amblin, cu o familie neagra in centrul acestuia. ” – [respiratie grea] „Ce?” „Zora, da-mi telefonul tau.” „Nu sunt pe asta.” „Zora!” „Acesta este punctul din film in care vreau ca teroarea sa inceapa intr-o noua treapta pentru public. Una dintre tehnicile pe care le-am folosit pentru a obtine acea teroare a fost ca dintr-o data intram in timp real. Filmul de dinainte de asta se deruleaza de ceva vreme pe ici pe colo. Cand ajungem in acest moment in care cei patru membri ai familiei stau tinandu-se de mana afara, atunci intram in acest tip de fluid – folosim o multime de Steadicam cu foarte putine editari. Incercand cu adevarat sa semnalizam subliminal publicului ca acest tip de eveniment implacabil, in timp real, a inceput si are loc. ” „Asteptati, asteptati, asteptati, doar o secunda – Gabe.” „Asa ca il vedem pe Gabe plecand. El iese afara. El este tatal, trebuie sa se ocupe de asta. Acest lucru este cam asemanator – probabil extras din propriile mele anxietati de a fi tata si de a-mi da seama, da, trebuie sa te intelegi uneori. ” “Salut. Va pot ajuta?” „Unul dintre lucrurile din aceasta scena care m-a inspirat cu adevarat a fost scena din„ Halloween ”unde Michael Myers are deasupra foaia fantoma. Si indiferent de cate intrebari i-a pus, el pur si simplu nu raspunde. Cu cat primiti mai putin raspuns, cu atat sunt mai iminente si mai fizice, amenintarea devine. Probabil dupa a doua oara cand cineva nu raspunde, stii ca unul dintre voi trebuie sa coboare. [razand] „A’ight, te-am intrebat frumos. Acum am nevoie de voi toti sa plec de pe proprietatea mea. ” „Una dintre piesele acestei scene care functioneaza foarte bine este ca il avem pe Winston in acest loc unde schimba codul. Stii, el se intoarce la unele dintre radacinile sale, ca sa zicem asa, pentru a incerca si a intimida aceasta misterioasa familie de acolo. Poate ca daca un fel de rationament cu ei nu functioneaza, ar putea functiona un registru scazut de moda veche, aruncand niste bas in vocea sa, iesind cu un pic de balbait si un liliac. ” „OK, sa chemam politistii”. „Winston este remarcabil in aceasta scena, iar audienta, intr-adevar, cred ca se afla in acest traga de razboi intre simtirea tensiunii care creste si teama de ceea ce urmeaza si putinul usurare comica a privirii acestui tip de tata tampit care este peste cap. ” – Gabe. „Nu, nu, nu, nu, nu, nu, nu, nu, nu, nu. In regula.” „Gabe!” “Ma descurc.”
Jordan Peele povesteste o secventa din filmul sau.CreditCredit … Claudette Barius / Universal Pictures
- Ne
- NYT Critic’s Pick
- Regizat de Jordan Peele
- Groaza, Thriller
- R
- 1h 56m
De Manohla Dargis
- 20 martie 2019
Noul film de groaza al lui Jordan Peele, „Noi”, este o sala filosofica expansiva de oglinzi. La fel ca hitul sau din 2017, „Iesi afara”, aceasta indrazneata distractie pana cand nu este socanta pleaca de la premisa centrala a genului ca viata de zi cu zi este un izvor de teroare. In „Iesi afara”, un tanar negru intalneste un grup de oameni albi care cumpara – la licitatie – corpuri negre mai tinere si mai sanatoase. Ceea ce face ca „Iesi afara” sa fie atat de puternic este modul in care Peele organizeaza o poveste clasica a posesiei corporale nedorite intr-o metafora rezonanta si nelinistitoare pentru maturarea relatiilor alb-negru in Statele Unite – SUA sau noi.
„Noi” este mai ambitios decat „Iesi afara” si, in anumite privinte, mai nelinistitor. Inca o data, Peele exploreaza terorile existentiale si tema posesiei, de aceasta data prin forma misterioasa a monstruosului doppelganger. Figura celuilalt suparatoare – a lui Jekyll si Hyde, a constientului si a inconstientului – se desfasoara prin povestea unei familii obisnuite, Wilson, urmarita de dubluri ucigase. Aceste umbre arata ca Wilsonii, dar sunt infricosator de diferite, cu priviri fixe si vocalizari guturale, animaliste. www108.zippyshare.com Imbracati in salopete rosii asortate si imbracate cu foarfece mari (cu atat mai bine sa le feliti si sa le taiati zaruri), acestea sunt viziuni de oglinda transformate in cosmaruri.
Gemenele malefice sunt un motiv bogat si durabil si se invarte prin „Noi” de la inceput pana la sfarsit, incepand cu un flashback pana in 1986 la un parc de distractii Santa Cruz, California. Acolo, o tanara fata (expresiva Madison Curry) si parintii ei ratacesc pe indelete in parc.
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Fata este foarte mica (camera se lipeste aproape de ea, astfel incat totul sa se contureze), iar ea si parintii ei mentin o distanta rece si aproape geometrica unul de celalalt. Strange un mar confitat perfect, o stropire portanta de rosu si o emblema plina de duh, atat de fructe interzise de Halloween, cat si de Edenic. Filmele sunt calatorii catre cunoastere, iar ceea ce stie fata face parte din misterul care fierbe.
Imagine
Lupita Nyong’o joaca in „Noi”, noul film de groaza al regizorului Jordan Peele. Credite … Claudette Barius / Universal Pictures
Wilsons, o familie de patru persoane, condusa de Adelaide (o orbitoare Lupita Nyong’o) si Gabe (Winston Duke), intra multi ani mai tarziu, introdusi cu o maturare aeriana de verdeata. Vederea (sau ochiul lui Dumnezeu, avand in vedere acoperirea metafizica a filmului) evoca deschiderea filmului „The Shining” al lui Stanley Kubrick, un film pe care Peele il face referire in tot. Un adevarat cinefil, Peele ne imprastie cu semnele de cap si aluzii la filme din anii ’70 si ’80, inclusiv „Goonies”, „Jaws”, „Un cosmar pe strada Elm”. (O scena tulburatoare sugereaza ca este si un fan al lui Michael Haneke.) Dar „The Shining” – o alta poveste a unei familii bantuite grotesc – serveste ca cea mai evidenta stea a sa indrumatoare, narativ si vizual.
[Cititi despre Lupita Nyong’o si munca ei la film.]
Peele likes to mix tones and moods, and as he did in “Get Out,” he uses broad humor both for delay and deflection. There’s a cryptic opener and an equally enigmatic credit sequence, but soon the Wilsons are laughing at their vacation home. It’s a breather that Peele uses for light jokes and intimacy (Duke’s amiable performance provides levity and warmth) while he scatters narrative bread crumbs. There’s a beach trip with another family, this one headed by Kitty (a fantastic Elisabeth Moss) and Josh (Tim Heidecker), who have teenage twin girls (cue “The Shining”). At last, the movie jumps to kinetic life with the appearance of the Wilsons’ doubles, who descend in a brutal home invasion.
The assault is a master class of precision-timed scares filled with light shivers and deeper, reverberant frights. Working within the house’s tight, angled spaces — soon filled with fluid camerawork and bodies moving to dramatically different beats — Peele turns this domestic space into a double of the funhouse that loomed in the amusement park. After much scrambling and shrieking, the Wilsons and their weird twins face off in the living room, mirroring one another. Adelaide’s shadow, Red (the actors play their doubles), takes charge and splits up the Wilsons, ordering her husband, daughter and son to take charge of their terrified others while she remains with Adelaide.
[Read Jason Zinoman’s essay on why this is the golden age of grown-up horror.]
A vibrant, appealing screen presence, Nyong’o brings a tremendous range and depth of feeling to both characters, who she individualizes with such clarity and lapidary detail that they aren’t just distinct beings; they feel as if they were being inhabited by different actors. She gives each a specific walk and sharply opposite gestures and voices (maternally silky vs. monstrously raspy). Adelaide, who studied ballet, moves gracefully and, when need be, rapidly (she racks up miles); Red moves as if keeping time to a metronome, with the staccato, mechanical step and head turns of an automaton. Both have ramrod posture and large unblinking eyes. Red’s mouth is a monstrous abyss.
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Evan Alex plays the Wilsons’ son (and his doppelganger).Credit…Claudette Barius/Universal Pictures
The confrontation between Adelaide and Red testifies to Peele’s strength with actors — here, he makes the most of Nyong’o’s dueling turns — but, once Red starts explaining things, it also telegraphs the story’s weakness. “Us” is Peele’s second movie, but as his ideas pile up — and the doubles and their terrors expand — it starts to feel like his second and third combined. One of the pleasures of “Get Out” was its conceptual and narrative elegance, a streamlining that makes it feel shorter than its one hour 44 minutes. “Us” runs a little longer, but its surfeit of stuff — its cinephilia, bunnies of doom, sharp political detours and less-successful mythmaking — can make it feel unproductively cluttered.
Peele’s boldest, most exciting and shaky conceptual move in “Us” is to yoke the American present with the past, first by invoking the 1986 super-event Hands Across America. A very ’80s charity drive (one of its organizers helped create the ’85 benefit hit “We Are the World”), it had Americans holding hands from coast to coast, making a human chain meant to fight hunger and homelessness. President Reagan held hands in front of the White House even while his administration was criticized for cutting billions for programs to help the homeless.
In “Us,” the appearance of unity — in a nation, in a person — doesn’t last long before being ripped away like one of the movie’s masks. Peele piles on (and tears off) the masks and the metaphors, tethers the past to the present and draws a line between the Reagan and Trump presidencies, suggesting that we were, and remain, one nation profoundly divisible. He also busies up his story with too many details, explanations and cutaways. Peele’s problem isn’t that he’s ambitious; he is, blissfully. docdro.id But he also feels like an artist who has been waiting a very long time to say a great deal, and here he steps on, and muddles, his material, including in a fight that dilutes even Nyong’o’s best efforts.
Early on, Peele drops in some text about the existence of abandoned tunnels, mines and subways in the United States. I flashed on Colson Whitehead’s novel “The Underground Railroad,” which literalizes the network of safe houses and routes used by enslaved black Americans, turning it into a fantastical subterranean passageway to freedom. In “Us,” Peele uses the metaphor of the divided self to explore what lies beneath contemporary America, its double consciousness, its identity, sins and terrors. The results are messy, brilliant, sobering, even bleak — the final scene is a gut punch delivered with a queasy smile — but Jordan Peele isn’t here just to play.
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