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Says
Jamie Lee Curtis (Santa Monica, 1958)
that theirs is nothing fascia. "If someone takes the trouble to look at my baby photos, there they will see that I have a scared face. It is a natural talent. I prepare myself emotionally for the characters, but nothing more. The rest comes out alone," says the actress. And smile. The interpreter who has probably passed more fear in the history of the cinema received on Wednesday at the Venice Film Festival the Golden Lion for a whole career not only screaming. And he did it at the same time that he presented the second installment of the trilogy signed by
David Gordon Green
on the controversial exploits of Michael Myers.
'Halloween kills',
it's called.
To situate ourselves, the film takes the events exactly where they were left by the 2018 film in charge of reactivating the saga inaugurated by
John Carpenter
in 1978 and which, in its own way, changed a good part of film history. Then, Gordon Green himself demonstrated at the same time a maximum respect for the original without neglecting a duly personal look and knowledgeable of the keys of the genre. Now, he insists on drawing lines of contact with the spirit of this time that occupies us ('
Zeitgeist
' they call it) at the same time that he shamelessly forces the machine. Suddenly, everything is more brutal, more explicit,
more lacerating
with the condescending gaze of a spectator perhaps too used to smiling with blood.
"The film makes it clear that the system is broken not only in the United States, but throughout the world," says Lee Curtis in what is, as it happens, a defense both of his concrete role now and, hurrying, of his entire legacy . Let's not forget that the installment just presented is his sixth confrontation with the evil incarnated by the psychopath with the white mask (there will be a seventh) in a total of 12 productions (awaiting the 13th). And, indeed, on this chaos that is pointed out in the declaration is raised
'Halloween kills'.
If 'Halloween night', the previous one, proposed an '
avant-la lettre'
comment
on female empowerment in Wenstein's dark times,now the idea is to illustrate the horror of that despondent figure that agitates
the masses against the Capitol.
The director throws himself headfirst into the stalls and rather than proposing a staging, he
directly vomits it up.
As we already suspected, Michael not only has not died in the trap finely woven by the three generations of women in the 2018 film, but his will to destruction grows with each stab or shot he receives.
Fear is inherited, contagious and spreads throughout the community until it reaches everything.
And with it the chaos advances.
The entire city of Haddonfield mobilizes to catch the murderer and, in its collective madness, it is the nightmare that consumes it that feeds each of its inhabitants.
Fear eats fear.
"What I like about
Laurie Strode's
character
is that she has been with me for 43 years now, We have grown and aged together ", says Lee Curtis and there is nothing left to do but agree with her and make it clear that the others are also with her. What Carpenter did at the end of the 70s was to place the A genre of horror in another much murky place. Suddenly, evil was discovered naked and without any justification other than its total irrationality. That film placed the viewer in an unpublished, perhaps cathartic place. Like religion itself, that way of understanding terror It situated the congregation in the proud acceptance of their helplessness.We are so vulnerable both when we admit the secret of faith, at once fascinating and terrifying, as when we abandon ourselves to the overwhelming certainty of the unknown, of what makes us suffer. And in that pleasant helplessness, Carpenter's genius reassured us and,At the cost of even any hint of rationality, it made us strong.
Gordon Green knows it. And he even enjoys it. Although the dosed wisdom of his previous film is missing, that desire to leave the viewer completely orphan remains intact, always aware of the irrationality of the sweet pain caused by the abysses, those abysses that return the gaze according to the philosopher. It is what the actress herself on her tribute day calls
"fear in concentric circles."
Lee Curtis says that of all the works of his career he stays with '
Halloween
', with
'A fish named Wanda
' and with '
Risky
lies
'. If they remind him of '
Between crooks the game goes
' he nods and thanks John Landis as the discoverer of his comic vision. Indeed, it is not only the scared face that defines the natural talent of the daughter not only of the protagonist of '
Psycho
',
Janet Leigh,
but also of the actor of '
With skirts ya lo loco'
,
Tony Curtis
.
Pietro Castellitto, Franz Rogowski, Aurora Giovinazzo, director Gabriele Mainetti (front), Claudio Santamaria and Giancarlo Martini at the presentation of 'Freaks out'. CLAUDIO ONORATIEFE
SUPERHEROES AGAINST NAZIS
The day was completed, already within the official section, by two tremendous films. Each one at one end of the semantic field of the adjective. The most anticipated was the new work by
Gabriele Mainetti
after he surprised us some time ago with a postmodern, popmodern and post-pop rereading of the superhero in
'They called him Jeeg Robot
' (2015). '
Freaks out'
is the new attempt to bring Marvel mythology to a very Italian stage, very manners and very delusional. The result, too bad, is just very confusing, fearfully confusing. Beside him, Russian directors
Aleksey Chupov and Natalya Merkulova
presented
'Captain Volkonogov Escaped
', a Soviet parable as stark as it is ambitious, brutal and, again and in the best sense of the word, tremendous.
Of the most roundabout of the day's proposals, that of Mainetti, undoubtedly stands out his will to refound almost everything,
his unmatched totalizing desire.
From the vindication of diversity to the evil of Nazism, passing through the return in our days of exclusive discourses and without forgetting the resistance capacity of just men, everything fits in a narrative that is at the same time an adventure, a training story. and even, who knows, the beginning of a superhero saga.
The story is told, in the middle of the Nazi occupation of Italy, of a group of 'freaks' halfway between The Fantastic Four, the X-men, the chiripitiflauticos and the discarded extras of '
The stop of the monsters
'. One is a hairy beast of inordinate strength and intelligence; another, a tiny being capable of magnetizing everything and (also has) a huge penis; the penultimate communicates with insects and, finally, the most important, is an electric teenager. As it is.
What follows, and here the problems, is a repetition of a scheme a thousand times contemplated that contributes nothing, discusses nothing and reverts nothing from the initiation story that any movie with people who fly and with powers regularly serves us. Despite the art direction's efforts to divert attention, Mainetti barely escapes from a cosmogony that at this point is more than just tiresome. It is very strange that despite the plot and staging chaos,
everything on the film seems perfect and, again, tremendously predictable.
'
Captain Volkonogov escaped'
proposes a parable that, as it happens, is also a moral tale. In a strange Russia and, despite this, identifiable to the point of nausea, the person in charge of purging the traitors of the State suddenly acquires the light of conscience. We speak, in order not to lose the thread, of the Stalinist purges.
Our hero (Yuriy Borisov) flees, searches for the relatives of his victims and cries out for their forgiveness.
Directors Aleksey Chupov and Natalya Merkulova, formerly responsible for the delusional and brilliant 'The Man Who Surprised Everyone', manage to place the viewer's gaze in an abstract place that calls both the past and the most evident present. . The agents of repression wear strange red tracksuits and their heads are shaved as if they had escaped from a casting of La Fura dels Baus while
the action unfolds on the devastated stage of a timeless place.
The film jumps from victim to victim at a rate as insane as it is feverish.
The film has something to do with that rare and inordinate experiment called '
DAU
', by
Ilya Khrzhanovskiy,
and with the urgent need to balance accounts with a present that has not yet recovered from all the wounds that run through it.
It is a film for both action and reflection, for fever and drowning.
Without a doubt, a film exercise, this one and with all the consequences, tremendous.
According to the criteria of The Trust Project
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