Doing a —risky— exercise of highwire theoretical, we could come to the conclusion that the prolific subgenre of biopic and a activity becoming less and…
Doing a —risky— exercise of highwire theoretical, we could come to the conclusion that the prolific subgenre of biopic and a activity becoming less and less neat, and reputed as the policy should share in maneuvers and stratagems to come to fruition and be successful in its mission; one of them being the need, we won’t tell a lie —also—, but manipulating reality to its whim, to prepare speeches and to attract viewers and voters, respectively.
‘The vice of power’, fully aware of this, decides to break completely with the schemas that directly associate to hear of a feature-length biographical, moving with skill between the boundaries that separate genres and styles; hibridando fiction and non-fiction in a story caustic, acid and exciting, who portrays not only to its central figure —the vice-president Dick Cheney— but to that political class that, at the beginning of the century, transformed the world into the shithole we inhabit today.
The most risky way in the service of the background and more incisive
The new Adam McKay, who consolidates its position as one of the filmmakers most stimulants of the current scene after his unexpected ‘The big gamble’, so you only need five minutes to present a few letters that anticipate a master class on how to balance tones and articulate messages with an agility audiovisual impeccable and a sense of humor arid and bitter, that invites you to wonder at several points why the hell are you laughing at and empatizando with a few characters slippery.
No doubt, the greatest virtue of ‘The vice of power’ lies in its shape. McKay builds his narrative by borrowing resources from both the documentary and fiction, creating a brilliant monster of Frankenstein in which there is room for the spirit of Michael Moore’s more incendiary, and for a camera work calculated to the millimeter, whose leitmotiv is the proximity to the characters and a freedom of movement to be envied.
in Addition to this, the feeling of risk at a formal level —maybe a bit too much for some palates—, which transmits the tape looks very enriched by elements such as the use of archival material, intertítulos or a voice-over is justified dramatically with so much bad baba as a hit; all of this precision cut and a rate endiablado in the fitting room and photographed in negative 8, 16 and 35 millimeters by Greig Fraser that stands as a strong candidate to become the least, with an Oscar nomination.
by applying to a large number of interpreters of repute who appears in your list of credits, it is needless to point out that the performances of ‘The vice of power’ are a level above the usual in many contemporary productions; not only for a Christian Bale gargantuan in its starring role —well-deserved Golden Globe—, but for a campus of side is highlighted by a Sam Rockwell —how— to jettison his role as George W. Bush.
But everything mentioned so far would fall on deaf ears if ‘The vice of power’ does not use all of these tools in the service of a speech is robust, and refers without hesitation to the public, channeling through Cheney, his diatribe about the nest of vipers in which it takes several decades turned american policy —and, if I insist, the international—; all without a shred of air propagandistic and with a consciousness full of your condition demands.
More than a biopic to use, ‘The vice of power’ makes up a review, perhaps profiling to brush strokes too thick, but absolutely necessary to our contemporary history, essential to understand the geopolitical situation today, understand a little better why we are as we are and, more importantly, to know something more about those who led us to this undesirable status-quo.
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The news ‘The vice of power’: an electrifying portrait of the political class that changed the world after 11-S was originally published in Espinof by Victor Lopez G. .
January 11, 2019
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