Clint Eastwood
Eisenstein argued, in a famous essay, Charles Dickens and his kind of narrative construction have led - through Griffith - the aesthetics of American cinema. Well, Dickens is a god given explicitly owner of "Hereafter" by Clint Eastwood. George (Matt Damon) listen to tracks in Dickensian audiobooks read by Derek Jacobi, take a portrait of Dickens in the house, visit the Dickens House in London, where he appears as Derek Jacobi Himself with a reading of Dickens to the Book Fair. But beyond this, the great Eastwood film itself is Dickensian: the smooth taste of romance, the secret thread of irony, the ability to handle the pathetic, the unmistakable flash of authenticity. ICTU oculi "Dickens seems" more than one page of the film - to give just one example, the scene of the two children frantically which challenge the house in order to hide an intruder Social Services weakness of the mother drunk and drugged.
Si dice che “Hereafter” è un film sull'aldilà. E' vero, anche se riduttivo. Eastwood sovente nel suo cinema ha adottato lo schema dei destini paralleli; qui l'americano George ha visioni dell'aldilà se tocca la mano dei parenti e comunica coi morti, ma sente questa capacità come un peso intollerabile e ne rifugge cercando di vivere una normale vita da operaio; la giornalista francese Marie è segnata dall'esperienza di pre-morte avuta durante il grande tsunami asiatico e si rovina la carriera per testimoniarne; il bambino inglese Marcus ha visto morire suo fratello gemello in un incidente e, separato dalla madre, cerca disperatamente un santone o un medium che possa metterlo in comunicazione con lui. I tre si muovono interlinear solemnly in a story - so that crosses San Francisco, Paris and London - until the plot does not make them meet in London, connecting with beautiful solution narrative of their lives. This jump from one story to another, against the risk of splitting Eastwood insert smart links (like the letters that touch each other in beautiful calligraphy than once) to reinforce the thematic unity impalpably. In terms of history by Muslim bombs in London goes to the shock that causes this news on TV in Paris. At the level of discourse on the scene of a fake medium in London comes with prolepsis sound, the ringing of a phone that opens the next segment in America. Even more interesting are the links illusory: Marie in the plane back home is called Atlantic Virginia (Virginia is a name of paramount importance in the first link of the media George), a scene in Paris opens with the passage of a boy in a bike that at first glance appears to be English Marcus, in London a woman in long shot down the stairs of a building reminds us of the American Melanie episode.
It 's a movie about the afterlife, of course, but most importantly it is a film on this earth. In the episode of a cooking school in San Francisco we hear from the Italian Chef "cooking takes all the senses." We can assume it as a metaphor for life, to be known, explored (the blindfolded taste of food), and accepted and lived with love and courage. The issue of communication with the afterlife is a catalyst in our daily lives.
Only in one situation - when his brother died in the subway does fly off his cap to Marcus, causing him to lose a train that will explode (I'm the bomb attacks in London) - the afterlife affect the living. The dead live a life of its own post, and if anything they may feel the influence of life on earth in relation to the subject of much eastwood desire for forgiveness for their sins (the father of Melanie). And if George can communicate with the afterlife, his gift is lost in the midst of a bunch of quacks, who parade in front of Eastwood gives us a superbly ironic sequence (which, by Dickens, it would be worthy of the "Pickwick Papers ").
In fact, George, Marie and Marcus are fully covered in the group of heroes eastwoodiani characterized dall'indomabilità and loneliness: the lack of love or separation from loved one appears as a kind of test of the soul - which translates to end in a new love for Marie and George, the reunion with her mother to Marcus. Underlying all is a very strong concept of the meaning in Eastwood: the choice and responsibility. George does not want to commercially exploit his gift, but his original sin is to reject it (in a harrowing scene closes the door on a mother who lost her daughter), his brother will be a profit, but states a truth when he says "It 's your natural ... you can not escape forever. " The same approach was that Marie feels compelled to write his book about the afterlife even if it means ruining his life. The same approach in which they grew, the two brothers who take care of the mother.
In this way we see a happy fusion of the complex fictional "Dickensian" and the classic narrative mode, honest and direct Eastwood. Clint is a film classic because it has retained the ability to bring the film in real life - so far dall'ottovolante the fantastic genre films as the films concettosità "art." Look at the funeral of his little brother dead, the dramatic realism of this trio of losers in the front row in church. Look at the blindfolded taste of foods by George and Melanie, with the wonderful way in which food passes from their dialogue to identify their personal life (and all of the following sequence involving the girl, Bryce Dallas Howard in the interpretation of wonderful expressiveness). The break in the restaurant between Marie and a disloyal lover in Paris. The scene in which Marcus preternatural by George finally managed to get in contact with the dead brother knows to reach an unsettling authenticity. So, no need to think ahead to the Elysian Fields after life to move us in front of a film of painful beauty.
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