The science-fiction that it does not just emphasis on the special effects, or try these to be as naturalistic as possible-makes for a long tradition of the genre, from ‘The clockwork orange’ to ‘Twelve monkeys’, to ‘First’. Constraints or budgetary decision aesthetic: all of these movies tend to put the accent on the concept, the message. In the end, the science-fiction is also known as “the genre of ideas,” not “the gender of the cromas.”
Alexander Payne is about that alternative that we could qualify as diametrically opposed to the ostentatious and regular space-opera with which it dazzles us periodically Hollywood, and uses the story of a scientific discovery that you can reduce the the size of Airgamboys to throw a few reflections on the nature of humanity, the miseries of the middle class and many other issues. So many, in fact, Payne looks like one of his characters, overwhelmed by the possibilities of the change of size, and also leaves atosigar by the large number of speeches available.
‘A life in a big way’, Payne (with the help of his co-writer, and a frequent collaborator Jim Taylor, even though they were from ‘Between drinks’) how the invention of a serum that reduces remarkably and irreversibly the size of the person accessing are scheduled to inject it changed the world forever. is A marriage formed by Matt Damon and Kristen Wiig decide to venture into the world of “small”, attracted by the extraordinary fortune (proportional and automatically) have all the people reduced.
it Is only the starting point of the film, which soon gives a couple of twists of the script into an environment psychologically hostile (but not of another kind: this is not ‘The incredible man shrinking’), although before that, ‘A life in a big way’ has flirted with the satire of the consumer society.
The official reason for the small change of life is to fight against the climate disaster; the reality, that they become millionaires. Payne reflected in the sequence most overtly comic of the film, with Neil Patrick Harris, and Laura Dern turned into Ken and Barbie almost literal.
however, when the character of Matt Damon is alone in the world reduced, the tone becomes, if not more serious, and more reflective. Remains comedy, in charge of two characters delicious interpreted with loading masterfully by Christoph Waltz and Udo Kier, rogues who are taking advantage of the selfish ambitions of the new rich of the size of a squirrel to make a fortune. But are introduced parallel themes from the emergence of an immigrant Korean (who came to the united States hidden in the box of a tv) played with great aplomb by Hong Chau. Basically, the wealth that it generates inequalities and that utopias are, by definition, impossible.
Chained to the message
the hand of the character, asian movie enters an area of doubt in which he opens too many fronts to be effective, but also that gives you genuine originality. the In fact, one of the main entertainments a posteriori for the viewer is to imagine alternative films with the same elements of ‘A life in a big way’: an adventure of action in a scaled-down version of the Fjords; a romantic comedy in shacks, tiny; a portrait of the hilarious relationship between the scammer and his assistant; or, in short, what looks like it’s going to be at the beginning: a satire of anti-capitalist with people that fits in a pocket.
‘A life in a big way’ is nothing of the sort, and it is a little bit of everything, without focusing on any genre, without deriving the tone beyond that of a drama levísimo with touches of comedy bitter -and springs plot of science-fiction, of course-. Much less compact than ‘The descendants’ or ‘Nebraska’, possibly doomed due to its appearance light to an eternal place of work less within the filmography of Payne, ‘A life in a big way’ gives thanks to the second half bewildering and irregular a step in a direction that is more risky.
aside from the political satire that Payne tested much more aggressively in the now distant ‘Election’, the director chooses to give humanity to their characters, but without losing the character gently ironic. And that is the great triumph of ‘A life in a big way’: you do not need to raise the terrible mis-generational ‘Nebraska’ or ‘The descendants’ to describe conflicts or raising situations empathetic… in the context of a story of people reduced in size.
Payne makes clear, in the end, a message of hope (though, again, with codes that flirt, without getting into it, with another spring narrative: the dramas, post-apocalyptic). the Seems to say that no matter the size, we will inherit miseries social but also the moral greatness that we were just becoming human. And that is where Payne reveals certainly innovative: we said that the choice of the science-fiction without effects mayestáticos was all a risk in these times of devotion to the CGI hiperexpresivo.
Because there is more: the second half of the film is less concise, more hesitant than that of the initial stretch, but it is comforting that at this point, there is someone with enough faith in the human race as for signing off on a feel good movie so frank, naïve and optimistic as this. It will have its bumps, but since then is something of what ‘A life in a big way’ can feel proud.
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The news ‘A life in a big way’: Alexander Payne uses science-fiction as an excuse for a satire kind and optimistic was originally published in Espinof by John Tones .
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