Il Grinta Joel & Ethan Coen “Il tempo ci sfugge”. La dimensione del passato attraversa tutto “Il Grinta” dei fratelli Coen (stretto remake del classico di Henry Hathaway con John Wayne, ma ancora più fedele al bellissimo romanzo di Charles Portis). E questo lo dichiara non solo la voce narrante di Mattie Ross in apertura... “Avevo solo 14 anni”... ma già l'immagine che apre il film mettendosi lentamente a fuoco, e si rivela essere il corpo del padre ucciso in strada. Se il film di Hathaway cominciava con la partenza del padre di Mattie assieme al suo futuro assassino, nel film dei Coen l'assassinio è
già given, what we see in Hathaway is the story of the facts, the Coen brothers is their memory.
We can take a symbol of the film image that you used three times: the eyes of the corpses while you are away. The first time, the bodies deposited at the exit from the hut, stiffened by the cold night, then there is the passage on horseback through the plains of the epic battle, strewn with enemy dead, and finally the poignant backward glance of Mattie - carried by hand from Rooster Cogburn, the Grit (Jeff Bridges) - the corpse of his beloved horse. A look at removal, because the whole film is a look back at youthful adventure of guns and blood, pain and cruelty, which fades (With the same solemnity of "Liberty Valance" Ford) in the image and narrative voice of a woman on the train, with one arm, 25 years later. "I never saw him again."
He therefore that, when the protagonist goes looking (unsuccessfully) Rooster after a quarter century, going to look at the Wild West Show: The circus that plays and sublimates the Old West in the abstract dimension of the show (although taken from the novel , we find here a clue to the direction of the Coen metacinematografico: the story becomes the staging). There he met two real legends of the West, Cole Younger and Frank James, and their dialogue ("We had good times together" - "Also we have lived a good time ") is a eulogy not only muscle but in the West.
This dimension of the past is never so clear, and elegiac, but in the end of the film. Where in the old John Wayne Hathaway ran off a horse jumping a fence, and here the film to stop time in a still glorious (there's always time to die), the remake takes place at the conclusion of the tombs near Rooster and his father, and while Mattie Ross is away until it disappeared over the ridge of the hill, the camera framing his removal remains motionless among the graves in the foreground on the right and left. "Time slips away from us." Time goes by and kills us, the only authentic look flows away from the past and death.
Indeed, "The Grit" Hathaway was even more beautiful - but this is probably inevitable (the classics, you know ...). The Coen film takes off with the beginning of the journey, and before the two brothers seem intimidated than Hathaway, to exaggerate or to add or remove (the scene of the hanging is remarkable, but in the movie was wonderful, and the gag on the old fellow's bed Mattie Ross to the inn is well below the dry garbage Hathaway, in the remake lacks all the charm of the game shop in Chinese). But later recovered with fidelity the epic Hathaway, including the climax of the battle on the plain. If the their "Odyssey" ("O Brother, Where Art Thou?"), the Coens lovingly carried the story on the low floor, stood up here a refreshing classic.
was inevitable that the Coen brothers landed in the western, a kind of rest that have courted in all their movies. Their recurring theme in the plays as comedies, is the lack of sense of the world, hence the impossibility of finding a
ubi consistam understanding if not in great landmark of violence and death. And the absurdity of the world as the best allegory that the absurdity of the West, an unreal world, malleable, in formation, a vast wilderness
where everything può accadere?
Cosa che ha capito molto bene Jim Jarmusch, naturalmente, col suo archetipico “Dead Man”; e prima di lui Monte Hellman (si pensi a “La sparatoria”), ai tempi della “nuova Hollywood”, ma anche il vecchio Aldrich e il giovane Peckinpah. Per questa strada i Coen reinseriscono nel classicismo del nuovo “Il Grinta” gli umori crudeli e l'assurdità che serpeggiano nel loro cinema. C'è un sublime momento onirico, nel film, quando i due cavalieri, dopo avere staccato l'impiccato dal volto mangiato dai corvi, restano fra gli alberi ad aspettare immobili, come in un incubo - ed ecco che si fa avanti dal nulla l'uomo dalla testa d'orso, che poi si rivela un vecchio quack.
"The Grit" by Hathaway (such as the Coen) a Bildungsroman, but the theme around which is wrapped is a reaffirmation of a justice that must be maintained at the cost of renting an old
U.S. Marshal for a drunken fist dollars - and if you can not drag the murderess to the gallows, you could always do justice with a gun. This is the basic axiom of the moral geometry of the West: the shortest distance between two points is a straight line of a bullet. Coen
In principle this is certainly present (alluding to it the dark biblical citations), but the two brothers brought to the fore another issue: the search for a new father Rooster - research also passing the time of rejection and doubt. The report very well separate the two shots that would be trivial but they are all very significant: the shipment of coffins in the train, his father's initial and Determination of the end, are made with the same shot down. The second replicates the first.
And this reminds us that, if death and violence are the real thing in the world of the Coen brothers, there is an exception for the few: a possible and fragile truths - only for someone - is also tenuous in the "flames" affective light on the road.
I tried several times to become matted velvet, always with unsatisfactory results. Before leaving I wanted to make a further test of the old thin velvet of my grandmother. There 's been good! Then some rock, some ricamino and here is the bracelet that kept me company these days. 
