Wood Flower Planters Boats

dealing with the afterlife

Hereafter

Clint Eastwood,

USA, 2010

A famous French journalist (Cécile de France) miraculously survives a tsunami, staying for a few moments between life and death. In that brief moment sees the afterlife and decides to tell the world about his experience. A child loses his twin brother in a car accident and social services away from the mother and entrusted to a new family. Both meet at the London Book Fair is a medium (Matt Damon) who can speak with the dead ...

Clint Eastwood certainly dealing with a singular subject with grace can overcome the danger of falling into a mess supernatural, but gives the film its Best commercial and Hollywood.

Many critics have called the most European film of the great master, but apart from the long acted scenes in French and a tribute to Charles Dickens in Europe there is very little. It is quite a big Hollywood production in which you are a shameless use of product placament (Blackbear ** y, ** and Yout, Goo ** e) and in an attempt at all costs the emotion of the viewer. The hand of producer Steven Spielberg is seen in the catastrophic effects of the incipit, while Eastwood's what can I say?

You see his direction of classical structure, safety, and yet ...

The old Clint chases inflation too sentimental woes piling up bad things that are meant to move the viewer. Sure, it's a film about death and as such can only be deplorable. Yet it is all too easy to move using the character of a child against whom fate seems to have dogged dramatically. And what of the free happy ending in which the two protagonists fall in love with just a glance? These issues are davvero fastidiosi e melensi che lo spettatore non si aspetterebbe da un personaggio che ci ha sempre abituati a film di e per “duri”. Ma anche un regista di piccoli film scomodi.

Dopo Invictus , enfatico e patinato monumento a Nelson Mandela, opinabile ma amatissimo dal sottoscritto, di fronte a Hereafter pure io storco il naso.

Qui tutto è accomodante, scontato. C’è poi una lunga, inutilissima e incomprensibile sequenza con Bryce Dallas Howard che lascia davvero interdetti. E vogliamo parlare del modo in cui Damon entra in contatto con i morti?

Naturalmente Eastwood è sempre Eastwood, anche se lezioso e indolcito, ed è sempre bravo a dirigere gli attori, a scegliere (e comporre) le musiche e il direttore della fotografia (il fido Tom Stern), ma il risultato finale è un film che vorremmo subito accantonare per passare al successivo, che come al solito, non si farà attendere molto e sembra decisamente più interessante.

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