is 80 years and never ceases to amaze me. It is the most classic filmmaker left for Hollywood and maintains the ability to reinvent itself. They said that this was not his best film and no, it is, but why stop now. Clint Eastwood and Beyond life. 129 minutes delicious, beautiful, melancholy, especially melancholy. Enter one thinking that going to a movie about death. And thinking out what he has seen is a film about life. In just over two hours, the carousel of emotion is intense, extensive and powerful. With a great cast, with an address so new and known. Clint Eastwood. Just say those two words enough already to surrender blindly to this trip that we face. For its packaging looks different than that of the previous movies or best director. Shocking as it may seem now, their years, explore land adjoining the afterlife. But who cares. What counts is what Eastwood ever, the history of human beings. And although the structure of three people walking toward convergence is new for him, also dominates this item. Beyond life and as far as Clint wants. Now and forever. Since the early 90's Clint Eastwood put together three masterpieces as a director (Unforgiven , and A Perfect World The Bridges of Madison ) was not the director in a state of grace like that now dominates production. Now there are eight films strung together with a high level, very high, sometimes even none. It started with the raw Mystic River. Continued the painful Millon Dollar Baby. Flags of Our Fathers , the weakest of this stage, it was an exercise in classicism necessary to undertake the formidable Letters from Iwo Jima . exchange is overwhelming. Gran Torino is beautiful, even in its darkest moments. Invictus is a great hymn to freedom and fighting. And Beyond life could come to be understood as the culmination of this trend of the last decade, because all these films (except Invictus ) talk about one way or another on death. What better end to address the death itself? But beware that we are not talking about a movie more than Clint Eastwood. This is different.
variation occurs in the story itself. What we have on the screen are three characters, three lives and three different locations. A parapsychologist of San Francisco who has the gift of contact with the dead but he wants to stop using it (Matt Damon), a French journalist living the traumatic experience of being a star of a very recognizable natural disaster (Cécile De France) and two twin brothers from a broken home who live in London (Frankie and George McLaren). From the outset it was understood that the three pieces of the puzzle are set to converge, although Eastwood, with a dash of the great Peter Morgan (The Damned United , The Challenge. Frost / Nixon, The Queen ) hides his cards during the first part of the film. It is true that meets the highest of Cecil B. De Mille's start with an earthquake and grow in intensity. Only the growing intensity is emotional and not action. And grows to unexpected levels, especially in specific scenes. In fact, this may be great but the film: everything fits in the end, but has mood swings. There is simply indescribable and miraculous scenes and others that only make sense in the end.
A key point to understand the whole movie and is the scene in the apartment of Matt Damon's character with the girl he meets in a cooking course (Bryce Dallas Howard, who until now had reached its peak with M. Night Shyamalan in Forest and Lady in the Water . Until now. look at this scene.) Is the natural outlet one of the best, most intense and beautiful sequences of flirtation and infatuation that have been seen in recent cinema, but also the natural consequence of a life based on the death (as the character itself), which tells us to that moment. Is at the same time, a portrait of both death and life, but above all the loneliness, overcome cravings, the need to move beyond the traumas and fears and the limits of the condition human. Not only is a sublime scene on paper, is that Eastwood's wheel with a master's inconceivable to many other directors who have enormous prestige and often are simple artisans who put the camera to capture the magic. Eastwood, no. He creates magic. With every decision he makes, with every risk taken, with each frame that view. And that scene, I insist, is the climax of the emotional rollercoaster that we proposed.
The trip is credible because, apart from the brilliance of Eastwood, the actors give the condition. Damon, an actor fairly flat in its infancy, is superb, more and more certain of his qualities as an interpreter and increasingly plausible in very different roles. And there is more to see the two characters that Clint Eastwood has given here and Invictus, to check this development. Cécile De France is an actress gala, young but long career, and while rookie in Hollywood. Its role is probably the most intense and probably the most risky of the film. Passes the test with flying colors. The other female role, that of Bryce Dallas Howard, is much shorter but probably as essential to the emotional tone of the story as that of De France. This actress is very talented, but not let him see as much as desirable. And even with the kids get great moments Eastwood, which always brings a cast of secondaries as remarkable as unknown (except for a British actor who is always wonderful to see and which plays himself in a cameo-why blow the surprise by saying your name?). Everything fits, everything moves perfection, are marking Clint.
When the movie ends (and ends with a final ... perhaps too nice, is it possible to consider that a flaw?), Is the residue of having seen a prodigious set of scenes that stand out above others in appearance, only apparently more expendable. Narrative is different from the usual for this director, but other paths may be closer to a choral film has better reputation of which I believe usually warrant ( Crash could be the most popular and award-winning exponent). Is, as I said, a carousel of emotions, everything that goes with the word carousel, also some noticeable ups and downs. It is ultimately the best film of Clint Eastwood. But it is very good. And a film simply very good Clint Eastwood is better, probably, 80 percent of what is released in one year. Old fans of the director do not be mislead by advertising that has supported the visual spectacle (who has a brilliant start as a brutal) and the supernatural. Actually, that's not the best offering Beyond life. Because it looks like a film about death, but it is not. It's about life. And that Clint knows a lot. Are already 80 and half of them delight behind the camera.
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