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Example almost model that you do not even need to complicate life too much with puns narrative that betray the original on several fronts (yes, ‘The dark tower’, you look up to), or invest millions in promotion and special effects to justify a “Stephen King’s…”, ‘The game of Gerald’ is revealed to be challenging and perfect. Respects the original King, power, their virtues, avoid their problems and understand what should betray and what is not.
that Is to say. ‘The game of Gerald’ is a perfect fit. Take advantage of the undeniable fact that Netflix can afford to produce a movie as well, developed in a ninety percent inside a room with two characters to not make just concessions, and thus to be able to squeeze the possibilities of a original complicadillo: it is entirely of the interior monologue of a woman immobilized in a bed.
Here the woman is Jessie (Carla Gugino), who in a desperate attempt to give some substance to your boring marriage, agrees to be handcuffed to a bed in an isolated house on the outskirts, as part of a jueguecillo ies) proposed by her husband Gerald (Bruce Greenwood). But Gerald dies unexpectedly of a heart attack, and Jessie will have to face not only loneliness, but their own ghosts and fears.
We said that this film knows when to betray and when it is not the original. This is accomplished with a series of movements very wise on the part of Mike Flanagan, which is developing a very interesting career in horror, directing movies simpatiquísimas full of atmosphere and visual ideas (of ‘Oculus’ to ‘Somnia’ or the great sequel of ‘Ouija’) or the quite estimable ‘Hush’ also for Netflix, and that has more than one point in common with ‘The game of Gerald’.
So, with the help of his co-scriptwriter usual Jeff Howard, Flanagan faced with a situation of terror to the extreme with a unique scenario and not be perceived as theatrical, thanks to a few appearances to speak with Jessie, and that are the own Gerald resurrected (as an accumulation of all his fears and insecurities), and she herself in a strong version and determined. It is the main departure from the novel King. There, these voices were multiple: a version puritan herself, your psychologist or a friend of the youth, embodying different aspects of his personality.
The flashbacks, so irritating often in the horror film, here run with fluent, in part because of your terrible content and in part by the ease with which you are surrounded
With the decision to simplify these manifestations of the psyche of Jessie, Howard and Flanagan kept the tension at maximum, and the salpimentan with a series of painful flashbacks, terrible content, and thanks to the continuity of aesthetic to feel natural and necessary, and provide a background to the dramatic character without the necessity of melodrama, weeping. Less lucky you are in the final stretch, where for almost ten long minutes the prevalence of a voice-over mandatory, but artificial, essential to respect the stretch of argument end of the book, where the break in continuous make it very complicated its translation to images.
Interpretations to the limit
You need to put in place a history of these features, with interpreters able to provide humanity and complexity to the characters. Gugino and Greenwood are perfect. The second is extremely fun, as imp pathetic when it is alive and as a spirit reprochón when he is dead, as befits an occurrence that represents, in a certain sense, to all presences male that have been undermining the life and personality of Jessie, a female character with many and very sad undertones.
Gugino, for his part, shows up to what point is a actress often underused with one of the interpretations most powerful and complex of his career. Combining fragility and strength, is able to reveal multiple personalities with a mere change of expression, playing with the voice and maniatada almost all of the footage, his devastating interpretation, perfectly believable as a woman who is vulnerable and murky past, sustains the film by itself.
More elegant than it appears at first sight (the employment, or rather the non-employment of music in the sequences, terrifying to give them a realistic look, it is extremely intelligent), ‘The game of Gerald’ fun dodging the overemphasis on violence psychological novel King, sometimes a bit excessive -‘Misery’, for example, is much higher with a premise similar. And replaced by false clues that make you believe the viewer is in front of a home invasion, a film of supernatural terror, or a torture porn. It actually has a little bit of all of it.
‘The game of Gerald’ is able to please the diehard fan of King (there are nods to ‘Cujo’, ‘The dark tower’ or ‘Dolores Clairborne’) and, at the same time, to propose, a film that holds up perfectly as medidísimo artifact of suspense and horror (it has one of the scenes of gore pure more repulsive that have been seen on the screen, and it’s all thanks to how it dispenses the tension that leads up there). A balance is very complicated, which is precisely what makes it so free.
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The news ‘The game of Gerald’ is a perfect adaptation of Stephen King thanks to his modesty and strength was originally published in Espinof by John Tones .
September 29, 2017
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