[CRITICAL] A BEAUTIFUL DAY

Joaquin Phoenix devours the film in A BEAUTIFUL DAY, a polar haunted amplitude aesthetic and emotional mind-blowing.

A BEAUTIFUL DAY opens on a count where two voices on superimposed, that of a child and an adult. In parallel, a man is choking and another meets a mysterious mission in the shedding of blood. A lot of information in a short time. Lynne Ramsay creates a multiplicity of entrance of game, blurs the space-time (we don’t know who is doing what, when and where in relation to the future story) and we lost. The answer is that all these bodies, these voices, are the result of a single person : Joe, a former fighter in Iraq in mind significantly sick. These first minutes are important because they define basically the whole guideline in the feature film, a novel ultra-violent associated with a mental probing of a diseased brain. A film either hammer in both senses of the term. Used to cause the discomfort, Lynne Ramsay remains on its niche, and we embarked in a condensed 1 hour 35 minutes from dementia absolute.Not unconditional disciple of the finesse, the filmmaker arranges his camera alongside his main protagonist to marry the wanderings of the psychological, of which he is a victim. Joe is frequently taken of visions, the film does not skimp on the means to sway us to rehearsals of the flash(back) from its traumatic after-effects. Often displays to the forceps, these moments become really exciting from the moment they introduce an uncertainty with reality, drowning the spectator in a box disorder. Has the image of the final in the café, where Ramsay uses it with intelligence excesses mental of his character to totally repeal the boundary between what is real or not. Not illogical in fact, the majority of the visions of Joe pour in the gadget artificial if over-used, in final, losing their sensory impact.

But Lynne Ramsahas the chance. It has Joaquin Phoenix. Already validated as one of the greatest actors of his generation, he devours the film, fills the image, takes up all the space. The real beautiful idea, better than the flahbacks, is filming his body imposing to recreate a liability. The viewer contemplates every inch of her skin with the impression of being able to search his soul without him having to speak. The broad shoulders, the belly slightly coated, scarring and impressive beard massive, it is a body-landscape landscape fascinating as Joaquin Phoenix embodies so astounding. It feels a lived life, a soul, when Ramsay applies to the frame remarkably in scenes a sensuality at once forceful and depressed. It also smells all the flair of the staging, its inventiveness, in its way to capture its movements ghostly. A base of cut intervening too early, use the best of the different values of plan, it created a gap between him and the rest world. With the culmination of giving an aura to the border of the supernatural.In this tide of doom and gloom, beneath this flood of darkness, Joe finds an unexpected deep thickness. The bear killer does not know that the use of his hammer (his weapon of choice, a whole program), it also has a heart, albeit a stiff, able to (be) beat. The magnificent synergy between the form of the film and its hero guide the end to a counter-point surprise, reversing the expectations of the genre and opening the door to the intrusion of a gentle sensitivity. If the movie can voluntarily be described as a styling exercise because of – or thanks to – its amplitude and aesthetic to the winding path that he takes to address a gender-codified, and the last third shows that Lynne Ramsay is not at all in a search posture but is intended to benefit a sincere impulse of appeasement. Attached to its main protagonist, it loosens the noose for him to roll out the red carpet, delaying what could have been its saving and tragic scope of the swan. It was never really there, until the end where its cracks, escapes an earth-shattering beam of light. “Blessed are the cracked, for they let the light pass.” Michel Audiard said. And A BEAUTIFUL DAY proves it relentlessly.

Maxime Bedini

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