review the determination
Review by Stephen Santoli (rating: 6.0)
The titles are important. The nickname in the imagination of fans of Italian westerns was originally linked to the character that won him the only Oscar to John Wayne in his career, is an invention of those who gave a title to the Italian film "True Grit "1969. In the U.S., probably, "The Determination " do not even know who he is. For us Italian spectators, however, "The Grit" is the character who was Wayne, and that the film is the Coen starring Jeff Bridges. The nickname of the English character of Reuben J. Cogburn is " Rooster", ie ... "Rooster" (!).
" True grit "also titled the novel by Charles Portis, 1968, of which both Henry Hathaway's film with John Wayne, is that of Joel and Ethan Coen for 2010 are transposed.
" Grit "is free translation, by assonance the word " grit (grit, sand, gravel," grit to "scrape, squeak, bite the bullet). The phrase" true grit "thanks to the novel and the film is coming indicating the persistence and courage that support in complicated situations.
This dogged determination does not belong to the character of Cogburn, but to one who is the undisputed protagonist: the character of the fourteen Mattie Ross (who became a woman speaks in first person in the novel, a story accadutale Portis as a teenager).
In the Coen film, she is the narrator of the brief prologue and epilogue (within which the story of the film is enclosed as a flashback ). In bell'epilogo, which also constitutes the most significant departure from the movie of 1969 (it is not entirely correct to speak of remake: the films of the Coen is a second film version of the novel), we see Mattie Ross, aged twenty-five years (but most seem to), tell in short what was the fate of the woman, who had to pay the price because it is so little subject the logic of men. Become a "spinster shrew" was the price due, in the old west, a modern heroine who at the age of fourteen started looking for revenge on the assassination of his father.
Portis's novel (originally published n Italy with yet another title: "A real man to Mattie Ross," and now re-released with the Italian title of two films for commercial reasons) is admired for his literary qualities (also finds space in school curricula). At that this is their first "western" in the strict sense (the duo of Minneapolis has always refused this label for " No Country for Old Men "), The Coens said they really love the writer: in fact, the characters of fiction Portis seem close to those of the Coen films: watch (sur) realist seasoned with humor to specific human types portrayed in the social context of the deep province U.S..
It seems that the film of the Coen is particularly true to the spirit of the novel. For those who, like the writer, have not read the novel, the film shows - the plot - also largely follows the first film. If you want to understand how remake, a remake would look very respectful. The differences do not miss them. It is said to be materially different as an epilogue, and others are the steps in which the films differ, especially in the second part of the story, where the film is the Coen figuratively much more inventive than the first film - I think especially with some apparently minor incidents (that of "skeet shooting" with the unleavened corn, or the meeting with a surreal "dentist" strayed into Indian land, covered with a bearskin: perhaps the most "Coen" the entire film), but especially to locations, often at night (they play at night, effectively, many sequences in the movie day 1969), and winter - lots of snow, and almost as much rain (excellent photography by Roger Deakins).
Then of course there are differences in staging, so the films Coen si può tranquillamente dire più felice e più riuscito, oltre che più moderno, nello stile (laddove invece " Il grinta " del 1969 appariva polveroso e stanco, adagiato su vecchi stereotipi proprio negli anni in cui il genere stava vivendo una profonda e significativa trasformazione). Si confrontino in questo senso le due scene dell'attraversamento del fiume a cavallo da parte della protagonista Mattie, felicemente risolta dai Coen con una serie di campi medi e primi piani a pelo d'acqua che restituiscono molto meglio che nel primo film lo sforzo fisico e l'avventatezza di gettarsi in mezzo ai flutti tumultuosi di un corso d'acqua.
Confrontando i due film è evidente il maggior spessore registico dei fratelli Coen rispetto that of Hathaway. It 's also a difference in thickness "auteur", since the Coens are the authors of the screenplay. Every choice diegetic is due to them from the other major difference with the film's first forty years, that the decision not to stage the death of Mattie's father, whose Hathaway devoted the first few minutes of his film. Choice, this, that indicates the intention not to fit in the viewer the emotions that would be derived from the vision of the assassination (after seeing the loving relationship with your main character's father). The Coens, cutting this section, bring into sharp relief the spirit, gritty determination to revenge the girl, who was hired as a fact, the cause of which is offered as a mere concept.
Incidentally, the interpretation time director Hailee Steinfeld, who has 14 years actually, it's absolutely great stuff. Inexplicable, as often happens, his Oscar nomination as a "supporting role" when she is at the center of the story, and present in every sequence of the film, almost every shot.
[...] Read the full review of the movie THE GRINTA on filmscoop.it
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