After a film by Julie Taymor is willing to go on a diet for a few days to see for a while ', black and white film, strict sequences, minimalism, silence, not later than the eighty minutes that were the norm a few decades ago, when the film was not obliged to wrest viewers to TV programming.
But, as with some family dinners on important occasions, sometimes a nice stuff gotta have it, and a film like "Across the Universe" è un'occasione più che discreta per tornarsene a casa barcollando, alla ricerca di un bicchiere di bicarbonato visivo.
La Taymor è una provocatrice barocca che viene dal teatro (e ci torna spesso e volentieri) e che, come spesso accade ai registi di derivazione teatrale quando impugnano la macchina da presa, si scatena nell'esplorazione forsennata di tutti i mezzi che il teatro non offre. In misura minore e modi diversi è quel che è successo, soprattutto nei primi film, a Mike Nichols (e, più di recente, a Sam Mendes e perfino
al nostro Fausto Paravidino), solo che la Taymor sembra aver intenzione di rilanciare di film in film, così che "Across the Universe" è stilisticamente even more radical "Frida", which in turn exacerbate the trends that were already apparent excess in "Titus."
Somehow, the excess is partly justified by the general here that the film belongs: "Across the Universe" is in effect a musical, built on a wide range of Beatles songs used in whole or in fragments, from time to time to replace one or more lines of dialogue, to hold an entire scene, or even just to be a musical number that is part of the narrative. The musical is by its nature, a genre marked stylization, whether we are in the assembly sbizzarisca whether we are worth of elaborate choreography, and finally, we rely on the Digital artists of the composition for combining the one and the other with the rules and the potential of animation.
If a problem exists, it is in the source material: starting from Shakespeare or the biography of an interesting character as Frida Kahlo, the very sound Taymor established bases on which to build the most imaginative visual stiribaccole. But the Beatles are much more difficult material: taken out of context, the songs are often only songs and illustrate them in a significant way is not granted. It is probably for this reason that Taymor has set the film in the era of dispute, Timothy Leary, the hippies and flower power, placed on trial, the story of love between un ragazzo di Liverpool di estrazione proletaria e una fanciulla dell'America benestante, benpensante e benenata.
Ma non basta: le immagini e nuovi arrangiamenti riescono a dare qualche spessore in più ad alcune canzoni d'amore, però poi il film procede per la sua strada senza sviluppare i temi a cui accenna: l'incipit di "Girl" annuncia un amore che si rivelerà molto meno tormentato di quanto non sembri promettere (e non può che ricordare l'apertura del pur sopravvalutato "Moulin Rouge", che il suo bel po' po' di dramma in serbo ce l'aveva), "Something" anticipa la separazione fra i due amanti in un momento che si direbbe prematuro. E "I Want To Hold Your Hand", resa particolarmente tenera da un contesto homosexual, introduces a theme that there simply is exhausted.
"Across the Universe" is a bit 'all over it: it works fine until it comes to describing the climate, but stumbles every time he mentions wanting to raise the bar, with musical numbers that express the promise of something without the rest the film feels obliged to maintain it. There is a beautiful ballet of leverage on the visit of young people to be sent to Vietnam, but the challenge remains visual and off the last note. The great conflict between the two protagonists is resolved in the fact that she decides to work hard in the protest, while he is imprisoned in artistic research and becomes jealous of the "cause" to bind the girlfriend. And when the Finally, after Vietnam, arrests and shootings on students, this love not so opposed ends happily with a big hug, what's the song "All You Need Is Love", the impression is that Taymor has chosen the easy way out, putting on a Beatles anthology that recalls some greatest hits produced by record companies in the mood for gifts easy disposal, without even addressing the problem of obtaining a concept album.
is an important limitation, which perhaps explains the enthusiastic reception on the whole not that the film received by critics. Yet one can not deny that "Across the Universe" remains a show in spite of everything generous, exhausting so pleasant, chock full of ideas, colors and, of course, music. With a couple of outstanding shares that should be appreciated by anyone who knows me better than the world of rock (but no: I have heard reviewers of nice podcast Filmspotting complain that the appearance of Bono is almost offensive, and that the presence Joe Cocker has as its only result is to bring out what the protagonists, however talented, are not the height of singers vocally true).
the Rome Film Festival, the hall was enthusiastic: the rhythm of the musical number that closes the film was all accompanied by applause, which continued along all the credits and were extended for another five minutes Off-screen, with Taymor and other cast members who were enjoying the triumph. We'll see if things are going so well in theaters, but it deserves to enjoy "Across the Universe" is advisable to make a small first trimmed to their expectations.
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