Afisha.ru - Рестлер - текст песни, слова, перевод, видео

The eightiene about the fighter

"Westler" is, if briefly, 115 minutes about a very good person who wants to collect his collaborated life together, and therefore comes with a sick heart into the ring, if you do not die, then perform feats.

Of all the works, the aronophist is the most, perhaps, smooth, perfectly round, deprived of any sustainability - the stronger the feeling of disappointment. He has all the films for one motive - about the torment and death of heroes. Judge for yourself: the crazy mathematician's besieged by the headaches in the debut "pi"; Three Brooklyn addicts, tightly sitting on the heroine, and slowly immersed in television madness amphetamine woman from "Requiem for a Dream"; Finally, in the "fountain" - Dr.-Oncologist, who thwarted his sick wife for finding the elixir of immortality. Moreover, the aronophists highly brilliantly applied the director's method given only to him when the madness of the heroes breaks into the film and the viewer passes the path of degradation along with them. What's in "PI" with his monochrome contrasting world, shot at insane speeds in the wrong degrees, which in "Requiem", where two thousand mounting pieces instead of standard six hundred, that in the "fountain" with his poisonous gilding, hugging a huge flying through Murana rain Glass bubble, - resolutely nothing to breathe.

The fourth in the quarry of the director "RESTLER" - the film is short (the humane timing is 1 hour and 40 minutes), depressing the old-fashioned, extremely neat in its already flawless and laconic form. The story, which is based on, all about the same thing - about a person who is selflessly coming to the end, but for the first time this thought they are given to understand so clearly. When on the third minute in the frame there appears nude on the belt, dirty and unnecessary Mickey RUCA body, covered by the whole mutilated muscles and breathtaking scars, somehow very quickly becomes clear, about which cinema, as it will develop and what actually will end. Probably, it is still a snobism: to call a good, flawlessly shot by a delicate camera is bad, because it doesn't have any a bit of ambitions, but the term "accurerant" is not in praise, but in the reproach to the director. For me - so it is, but not only in this particular case. Daerren Aronofski - like many other underestimated directors of modern times - at some point simply ceased to be a rebellious and revolutionary, it turned into the average Ronachovard, such a Scholyar, creating a movie inside a certain system of purely craft frames. And the criticism will help to understand the causes of such changes. Recall: "Requiem for a dream" was literally confidentialized by the press in Cannes - the authoritative edition variety, for example, wrote that the director should be treated to be treated instead of making movies. The existential "fountain" was scary in Venice, and PI PI reviewers advised to send to the trash and burn. While made with great love for the American eighties "Restlera", which for critics and a sample of scenario princess, and almost the standard of linear intrigue, met with flirtable complacency: first handed over the main prize of the 65th Mosts, then the acting Golden Globe, now move Picture on an Oscar.

Probably, such is the reverse side of the world harmony. Twenty years ago, Mickey Rourke was considered the favorite of all women, he was a handsome man, fruit from the bare body Kim Besingra, and no live soul applauded him; It cost him after a boxing career to turn into a collapsed crawling monster with a stretched skin - suddenly coaled. Aronofsky earlier shot alive, pulsating, aggressive and merciless paintings; And now here is an example of a film that is absolutely calculated, completely rational, typical of the beginning to the end. Objectively, there is nothing sad. But the most interesting will happen if Daerrena will now begin Hollywood career, and the remake of Uverviensky "Robocop" will work in