
not know and have not read the book that are based both Hathaway movie like the Coen brothers, so I can not tell which parts are true to the original findings which are literary and film. But what is clear is that all but one belong to the first film version. The Coens introduce only two major changes in his film, a wonderful opening scene, dark, intriguing and well told, and an end to almost be understood as an effect of time. The triumphant song of a lively John Wayne would not make sense here with Jeff Bridges. He is past western, the new western requires a different tone. Then there are some other things, a history that slips inconsequential half of footage and changed some dialogue scene. But that's it. And so the Coens have managed no less than ten nominations for the Oscars. The most amazing is that they have received the Best Adapted Screenplay. Since then adapted it, but the degree of adaptation is embarrassing, because, again, is a photocopy of the original. The same phrases, the same sequences, the same characters. And what is more offense, it all sounds worse than the original. Aesthetically
you can say it's a well shot film. Hard to argue. But the only thing new is that darkens the color palette. The red scarf no longer fits John Wayne in a western XXI century, not since Clint Eastwood masterfully closed a cycle Unforgiven. Here are gray, brown and black. There are no concessions to the joy in the tones. And surely it is a wise move, because otherwise the copy would have been perfect, as much as Jeff Bridges lead the eye patch John Wayne contrary to that had blocked or Josh Brolin has the burning of the face in the cheek opposite Jeff Corey . Big changes Coen, yes sir. Almost like a subliminal message to the viewer, warning that there are major changes over the first Grit. See the two films in a row is a very healthy exercise that removed the pretentious work of the Coen in modern cinema. On their offenders had their point. Now that will artists have been portrayed. Rather, it should have been portrayed, but it is not. Among the exaggerated praise to Javier Bardem for No Country and this rehash old West gives the impression that we are before a true master of cinema. Not for me, of course.
And everything in this Grit sounds less authentic than the original. History, for who does not know, is simple, as simple as was that of almost any western mid-twentieth century. A man is killed and his daughter engaged to a federal agent brave but too fond of the drink to give chase. And by the way they are joined by another man who wants to capture the murderer, but take it to another state to be hanged for another murder, which does not like the girl, who wants his revenge and not the other. That actor John Wayne was drunk. And John Wayne will always be John Wayne. Jeff Bridges is by far the best actor in this release, but sounds like deja vu, maybe even a negative note darker, less funny and more pathetic (and said this as a compliment to their work). Matt Damon is the most insipid, Josh Brolin and she wasted directly Hailee Steinfeld, who has garnered much praise, is no more accurate and far below the charisma exuded in the original version of Kim Darby. And if you remember the stunning original roles in the Robert Duvall and Dennis Hopper is when we realize that the distribution of the Coen line to a height lower.
The first impression left Grit is astonishment. I do not know if everyone has forgotten Henry Hathaway's film or if I have to praise the Coen whatever they do. And so the second impression is even more negative, almost angry. Because one feels that I have been fooled. Enraged that other remakes have much bolder critic who despises him as a sign of lack of ideas in Hollywood and then get a product like this and receive praise and awards everywhere. Hopefully over the years this Grit occupy its rightful place, ie, the most absolute of forgetfulness. I will be sorry for some of the actors I admire and respect. But the Coens do not. The Coen ended his film career with The Big Lebowski and left interesting films like Fargo , Miller's Crossing, The Hudsucker (what, the only films that garnered fierce criticism because, they said then, was a concession to Hollywood) or Barton Fink (not cite Arizona Baby, although I know many people like, because I did not say much). What followed is indescribable, astonishing and, as this time, irritating.
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