My first contact with the work and miracles of Jaume Collet-Serra —whom I believe, sadly, as one of our talents exported less valued in regards to the film medium— coincided with his debut on the big screen, entitled ‘house of wax’: a remake of the classic starring Vincent Price in 1953, ‘The crimes of the wax museum’ that drew me to the cinema with the promise of watch die Paris Hilton impaled with a metal bar.
By that time, my teenager was delighted with the string of deaths and the ability to entertain from the feature film produced by Joel Silver. Simple virtues, among which, after subsequent viewings with a perspective is more analytical, may be discerned, and not a few details that awaiting the maturation of Collet-Serra as the great manager of the suspense more classicist that has ended up becoming.
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the years Passed and, after passing unintentionally overlook a ‘¡Goool 2! Living the dream’ that I have not yet had the courage to put the hand above, I stumbled upon the Festival of Sitges in the year 2009 with a poster immense in front of the auditorium in the face distorted Isabelle Fuhrman accompanied by a title printed in a font of the most thought-provoking: ‘The orphan’.
The cocktail of psychological thriller with some slice of terror and is built on the home invasion that gave us the Catalan director with his third feature film —produced again by Joel Silver, who was joined by Leonardo DiCaprio with a very good eye— it was the confirmation that all that was possible to glimpse, in the ‘house of wax’ was not, nor much less, a mirage.
Turns spectacular end apart, the pulse narrative that makes gala the film, his ability to keep the respectable people in suspense or his superb management of the atmosphere made of ‘The orphan’ a genuine surprise to continue claiming today, and in which there are a few constants that have been repeated in the career of Jaume Collet-Serra: the embrace honest and without any prejudice to the B-series and your face craftsman of suspense trapped in the digital era.
Two years later, Collet-Serra found his medium orange film in a actor irish Oscar-nominated a point of meeting the sixty so-called Liam Neeson. Together, upon the signing of four feature-length films, in addition to elevate to Neeson as an action hero late in the new century, desatarían fully the potential of the filmmaker, showing that is it possible to satisfy equally to public, a priori, incompatible.
The thriller in key european ‘identity’ laid the foundations of the already cuadrilogía captained by the team Serra-Neeson. A show above reproach in the the spirit of Alfred Hitchcock —and many of their resources, still vital to articulate correctly the gender— roam without fear of being caught between action sequences past of turns, special effects, computer-generated, and a style in the realization according to the fili of the new times.
Changing the stage this pattern has been repeating in the exciting ribbon of high-flying ‘Non-Stop (nonstop)’, through the city of New York in ‘One night to survive’ —where you can hear echoes of the cinema of the best Walter Hill— and, ultimately, in the pride intrigue on rails ‘The passenger’. Even in the fantastic ‘Hell blue’, where Serra was changed to Neeson for Blake Lively to put it at the mercy of a hungry shark in a entertainment summer round and self-conscious.
All of these are examples of how to embrace a respectable that longs to intrigue told with craft and, in turn, meet some new builds that require a strong stimulus audiovisual. Components of a filmography devoid of stumbling, while they share virtues, they also suffer from some other scourge —those holes of script…— completely excusable and perfectly concealed with so much honesty, dedication, and love for the genre.
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The news Jaume Collet-Serra: a craftsman of suspense in the age of show digital was originally published in Espinof by Victor Lopez G. .