Mike Mitchell
The viewer will remember that the third installment of Shrek was a recantation, transforming the smelly ogre's first film - satire of traditional fairy tales and Disney myeloma - the usual "good" at war with the usual "bad." An inevitable development, perhaps, in logica seriale, ma certamente un impoverimento. A rimettere le cose a posto, ora è arrivato il quarto “Shrek”, diretto da Mike Mitchell: “Shrek – E vissero felici e contenti” (“Shrek Forever After”). Non è che il quarto film rinneghi il cambiamento; però lo assume e lo elabora con estrema abilità, fondandolo su un'analisi psicologica – all'interno della deformazione comica – e su una costruzione narrativa forte.
Alla base del film c'è la crisi di Shrek di fronte alla quotidianità pantofolaia della sua vita familiare: la moglie, i tre bambini, i parenti e amici sempre in visita – con in più il rimpianto di quando faceva paura a tutti, mentre instead it is now a local celebrity. A nice gag sees him running toward the classic mob of peasants with torches and pitchforks of movie monsters - to ask for an autograph. Anyone
(maximum and an ogre) would love to return to the roaring days of youth. So Shrek is an unfortunate magical pact with Rumpelstiltskin (Rumpelstiltskin) cedendogli any day of his life in exchange for a day in the old days, when he was free, and only troublemaker. But the wily Rumpelstiltskin take the day of its birth as a result, Shrek finds himself in an alternate universe in which he was never born, his wife Fiona does not know him, Rumpelstiltskin has seized the throne and all is sad and squalid in the realm. Shrek therefore has only one day of existence, in which he is sweating blood to get things right.
The principle of "what would have happened if I'd never been born" (obviously reminiscent of Frank Capra of "It's a Wonderful Life") implies a redefinition of all the characters in the saga. The film runs it with logic and humor - big Puss In Boots and fattened imbolsito - and presents us with a "Resistance of the orcs" against the tyrant, in the style of many rebel armies of fantastic cinema, history and adventure. In this way the film not only gives us a glimpse on the orcs as a social group but also recovers a bit 'of humor and body scoundrel the first episode. The rebels are led by Fiona, the angle that gives the novel its first character a bit 'anodyne.
The conduct is lively and witty, with the orcs that - forced to dance by the magical music of the Pied Piper of Hamelin - form a musical choreography. Accomplice to the need to jump on the bandwagon of trendy 3D (but the fourth "Shrek" as "Toy Story 3", works well flat), the film has a special care of the movement, since the classic role of the troops serving villain is up to the witch flying on a broom, the air movement has a way of placing in the center of the action. But the main value of "Shrek - And they lived happily ever after" lies in the screenplay (by Josh Klausner and Darren Lemke), with its element of comedy emotional and verbal. Not only funny gag - Pinocchio greenwashing poor Geppetto to pretend to have caught Shrek and earn a cut! - But a genuine human progress (or orc), supported by an excellent performance of the expressions.
The third "Shrek" was nice, but basically useless, and even a little ' disappointing for the loss of the first subversive. The intelligence with which the fourth episode has saved both ways deserves praise. Now that Shrek has learned its lesson and - Frank Capra, in fact - has learned to appreciate the emotional life that probably has the character says goodbye to viewers. Or maybe not? Never underestimate the inventiveness of Dreamwork.
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