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WHITE HUNTER, BLACK HEART ... (Eastwood)

The great class!

absolutely superb film, sandwiched between Bird (1988) and The Changing (1990), and like Bird, one of his own biography, and not least as devoted to this "mad" by John Huston (1906-1987), director of at least three films entirely mythical Falcon Maltese , The Misfits (the final film of Marilyn) and African Queen (1951) , turning epic and completely delusional that it is precisely this question in Eastwood's film.

Not to mention the fact that the "lion" John Huston was born on August 6 (say there are still people who do not believe in astrology, the "real", I mean) it is thus possible without any hesitation, along with Howard Hughes (his elder by 20 years) in line with what has been called the "last great moguls" such as David Lean, being delivered in the desert on his gold-plated Rolls filming of Lawrence of Arabia (lol)!

People somewhere comparable to the "prototype" Hemingway, people always willing to do anything without the slightest hesitation:

People constantly "broke", but always surrounded by friends enough rich and admiration for help nicely (admire the house, anyway!):

And most people with enough c ****** s to, despite these "small" financial problems ($ 300,000 debt in 1951, although it must be around ten million Euros, these days, right?) To send tampers with the producer who yells about its intended purpose - because remember, the whole world dies at the end of African Queen :

With of course the best reason in the world, but which at the time was not as easily recognized that Nowadays, where the "Happy End" was almost mandatory:

And so, no matter: "Everybody on the bus!" as we say ... With the passage some gorgeous views on the Zambezi River Falls:

Just before arriving at the airport, once the capital of Uganda (place since marked by so many tragic events, I prefer not to go into details, except to advise you in passing that other great film about the terrible regime of Idi Amin Dada, The Last King of Scotland ):

course, like all movies that take place in nature, it is difficult to move besides the beauty of the images (as in Assent the same author):

Not to mention in passing the fascinating Marisa Berenson (here Katharine Hepburn), but yes, remember: the heroine of the film alone in the world without facing the slightest input of artificial light, the sublime Barry Lyndon by Stanley Kubrick , where she played the eponymous role of the Countess:

Somewhere, certainly, this film is a fable ... But real story, where Clint took the opportunity to put points on the "I" about her own beliefs in cinema:

And a fable in which, undeniably, one feels also in total awe of this character that debt-ridden, discredited by its writer and producer, will also pay the luxury of getting shit everyone to afford (the account of others, of course) the only thing that really interests her safari:

Incredible, is not it (especially in our time where the Hollywood production shows a decline of 57%, without laughing)?

Two great scenes, anyway, where Clint settles accounts with racism ... The first, at a dinner with a young woman apparently very refined, it still leaves the enormities of this style:

With this nice answer (and this "nice" drawing):

Just before "fries" with the owner of the hotel, so ulcerated by his attitude vis-à-vis a black waiter - "negro", as we said in 1951:

Certainly not to his advantage, we will say

Anyway. Regardless, he did not care ... It EC kind of character, what! When he finally decides to make a minimum on the scene of the shooting with a zinc completely rotten, the only thing he has to say to his writer's death fear is this:

Because of course all producers, financiers, etc. ... are only concerned with one thing: "It would be better to cut the scene of the" fast ", everyone thinks that the boat will not take the shot! John Houston and replicate (this is all true): "Well, then there is only one way to know, is not it?" :

Arghh, the total fool! Still, it worked (note that the boat used in the film is Eastwood's absolutely perfect copy of the original):

And now : Huston has been running one of the crucial scenes of his film, and suddenly, without any scruples, he goes to the only thing that seems to interest him, his safari guide with his famous "Kivu"

Maybe he does not expect this kind of thing, too grandiose (who will ever know?):

Anyway Regardless, its writer is completely overwhelmed by the event:

Having suddenly the belief that "We other humans, are only ... "

Yes?

Or not?

No Spoiler (try to avoid, now) ...

But he is still after all these disappointments, all these crazy things, all these delays, the final plan (great) film is this:

Abort elephants get for once in his "Real" job, and be a cut above absolute there is that great class, in a nutshell ...

Well, it's Eastwood, what ...

PS: I think very frankly that the character of the hunter in Jurassic Park II Spielberg, who is desperate to kill the largest predator in the world (T-REX), and finally renounce it, is precisely modeled on that film Eastwood ... But of course, like everyone else, I could be wrong!

Att Uverse Erase Recordings

MIDNIGHT (Eastwood) ...

... In the Garden of Good and Evil (1997):

Admittedly, this is not the film's most famous Clint Eastwood (since without the revenue from abroad, he would not even reported in the USA what it cost) but however, a masterly film, far special effects Firefox or future Space Cowboys , wholly focused on the care and attention given to the psychology of characters, beginning with Jim Williams (Kevin Spacey sublime, as usual), a wealthy dandy unlikely small town of New Orleans to speak very chastened - in short, even I who am a real quiche in English, I see it ("Let's take a walk, shall we, Sport?"):

Interviewed on the occasion of its large and highly coveted Christmas by the timid journalist John Kelso (John Cusack), also a great lover of art, giving rise to this exciting first conversation about a "painted" (canvas covered by another teacher) - exciting because it is by itself an abyss into the film world:

What is beneath appearances?

And basically, who cares really?

Especially in a small town like Savannah (note that the film is based on a genuine news story):

A city of "sweet crazy" moreover, where everyone carries a gun by a simple routine:

A city where people walk to honor a promise, dogs that do not exist:

A city where others are wandering around with a few flies permanently attached to their necks (Geoffrey Lewis, one of the favorite actors Clint Eastwood, father crossing the very crazy Juliet the same name, between heroin others Strange Days and Natural Born Killers ):

But above all a city where the main attraction in winter is about who will be part - or not - the lucky few invited to the prestigious event by Jim Williams (and besides, you want to contribute to give me a small organ such recessed into the wall, you just need to gather about 600,000 €, no more!):

Until, as told in the Bible "The veil is torn, and the tombs are half ..." (In this case, that of Jude Law, found dead at that night, shot by "legitimate defense" by the master of the house):

very provisional morality of history, valid in all circumstances, but of course, particularly in small towns:

Perhaps it is this part of the movie that basically displeased the Americans themselves, as it oscillates between registers while showing very different things bluntly that people did really want to see whether the transvestite Lady Chablis (who plays his role brilliantly, often very funny):

Or the voodoo priestess Minerva, which even managed to take part in all this limits the fantastic mix of genres certainly very puzzling, but particularly successful in Eastwood, in my opinion:

The second part, much more conventional - since it joined the style popular in the U.S. But if the "trial films" - nevertheless exciting in that it will take great delight in shelling, an entomologist with precision, all the foibles of living lower Savannah, the Commissioner of Forensic through prospective boyfriends Jude Law. But again, thanks to his innate sense of breathing and assembly, Eastwood will avoid the major pitfall genus (bored viewers to force testimony, and camera) in us rewarding scenes among the funniest of the film, including one where Lady Chablis will put his heart's content by sowing chaos in the monstrous posh "black cotillion" in the city:

One of the highlights of the film, where we see further that having a different sexual life the majority is no guarantee of an immoral, quite the contrary:

thesis that will ultimately be supported strongly by counsel for Jim Williams (Jack Thompson), taking the transition defense of all those stigmatized by the so-called "right-thinking":

believe nevertheless Clint Eastwood simplistic enough to stop there would nevertheless be very ill to know! For in reality, without even a "spoiler" for all that, the whole film is actually a gigantic satellite dish on Art and Truth ", at least what everyone wants - or unwilling - learn:

In this sense, it offers the same time a certain kinship with all previous Absolute Power (1997), and with the much older The Penalty (1975), but course, with infinitely more control, even if the treatment has been paradoxical at first glance, disconcerting in more than one!

Feel free to explore at this film, one of the most unjustly neglected master ... You will not regret it!