[CRITICAL] PRIDE AND PREJUDICE AND ZOMBIES

You will take a bit of a zombie ? It is perfect for tea time. For those who taste even to the cutting of flesh out rotten, despite the ever-present current of the figure of the death-living in the various media, here is an entertainment accents british of the most delectable.

The prose of Jane Austen infested by the undead…after all, why not, to the point where it is ! Abraham Lincoln has hunted the vampire for Timur Bekmambetov, Daniel Craig found himself in the middle of a battlefield between Cowboys and Aliens, and the nazi tells space opera with the saga of the Iron Sky; and then having regard to the degree of degeneration reached by projects such as these crossovers, we will not play the virgin maids to the announcement of each concept to be unlikely.

The origin of’PRIDE AND PREJUDICE AND ZOMBIES, is a novel written by Seth-Grahame Smith, the screenwriter of’Abraham Lincoln, vampire hunter; roman, who was one of the best-sellers of the year 2009 in the United States. It must be said that the formula was simple, efficient, and had all the chances to seduce the public : introduce the figure of the zombie, is one of the most present in today’s popular culture, in the world of Jane Austen, as young anglophones are familiar with, since it represents two centuries, a passage almost obliged to sentimental education, in adolescence or early adulthood. A bearing located in the tail of a comet of the romantic era, announcing already the economic turmoil, political and technological developments of the victorian era; a cornerstone in the literature of which it is enough to count the film adaptations, television and theatre to see the long-term sustainability. That seeks to decipher the lord’s discourse, embroidered, century after century, which intermingle the expression of feelings, the conventions of heterosexuality and, more widely, those of the societies of prescribing them to women, know that they can always count on the look sharp of Jane Austen.

First of all, what jumped out at me in the film by Burr Steers, it is his generosity in terms of action and bloodshed, especially in the first quarter-hour, and multiplying the camera angles and editing effects to ensure a burlesque at the gore. The credits at the beginning in book form pop-up sign from the outset, the promise of entertainment, which will recede before any effect layer, and will assume until the end of its aestheticization of violence. The blades are sparkling, the skirts twirling, the music epic; for a little it would come out an appetizing smell of pop-corn to this flood of images removed. And then gradually, my ear is sharpened to replicas that are not parasitized by sound effects worthy of a video game; would like, would like, but it is the original text of Pride and Prejudice; the comma around in certain sequences ! They have dared ! they have not just kept a vague characterization of the characters and a rough outline of issues that sentimental; they have preserved a large part of the text, thus following the structure of the story accurately…but with zombies.

“This entertainment has a powerful asset : Lily James in a fighting badass ! “

I entered finally the set point of the exercise that were given to Burr Steers and Seth Grahame-Smith, and I enjoy even for a few moments of this game of knitting between two types of stories, two genres of which the meeting achieved a degree of implausibility such that it becomes almost poetic : a mesh of the Jane Austen classic and academic below, a mesh of the zombies fun and décérébré above. However, even if it is difficult to fault the film, its length, or its drops of rhythms, the style ends up bored before the outcome of the story, leaving me to watch the flurry of action with a distant eye, las find once more to the screen the famous “big fights of the last quarter of an hour”, without the line, Jane Austen, or the line zombies fun, don’t succeed to take me to emotions cinéphiliques unpublished.

I might just mention all of this entertainment on the Saturday night, properly executed and worn by a cast of the most sympathetic (Charles Dance, Lena Headey, Matt Smith), the incarnation of the supra-heroine Elizabeth, also crisp in the bridesmaid romantic than jubilant in a fighting badass. If the two components of the formula of the film sometimes have a hard time to achieve a homogeneous material, the interpretation of Lily James makes a coherent and moving, the alliance of a proud temperament and sensitivity, full of freshness. Girl Power ! Pardon, I’m getting carried away…Lady Power !

Arkham

Your opinion ?