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[CRITICAL] EVEREST

I had dedicated an article rather virulent in the film, seen its trailer overly enticing and focused on the big show. Therefore, like most of those who go to see EVEREST, I was expecting a particular movie: with great reinforcements of special effects and emotion, a story of heroism and camaraderie, full of an outstanding cheap. A Vertical Limit bis what. Classic.

Bah non. EVEREST, it is just the opposite. A film realistic and immersive where there are no heroes, but of Men lambdas, eager to test their limits. A movie or the suspense and the spectacle held to less revenue hollywood entertainment that a constant effect of vertigo (EVEREST is a must-see in 3D, and in Imax if possible), and a fantastic report scales are constantly thrown in our figure (Man VS Everest, 8848m). A film where the emotion is not placed in a relation to empathy, but in a finding very pragmatic personal limits and physical characters. In sum: a blockbuster anti-Spielbergien. Explanations.

EVEREST divides this said, in two parts. The before ascension (1: 15), and the ascension itself (35min). Quickly labeled by the press as boring and long, the first part could, however, be defined by a term more appropriate, often incidentally, used in the film: the‘acclimatization.

A rite of passage before climbing the Everest, since it allows the body to prepare to various changes that may alter his or her good health (air pressure, air volume, temperature, climate), but which, however, is more different in meaning than the mere disruption of physical.

This acclimation, however, is not that biological. It is also a cultural, mystical, and human. It is necessary to first immerse themselves in the tibetan culture, to learn to respect its people and their culture/religion. This respect will help to prepare his mind for the adventure, via a necessary humility in the face of the immensity of this nature. There, the physical training is important (basic back-and-forth between camps and altitudes), but trust must also be installed between these men and women. He must learn to know themselves, understand their motivations, assess what actions require what reactions when it comes time to make the right decisions. The various interpreters of these adventurers are, as I thought, actually in the mode “interchangeable”… But it is not sub-game is typical of the blockbuster is too full of superstars to allow one or the other to stand out… rather It is to accentuate the aspect “everyone is equal in the face of challenge, the face of nature, in the face of pain”. Simple, but very convincing.

This immersion in the preparation and the mind is, therefore, shown with patience and precision. Baltasar Kormákur is no exaggeration in this long first part, no effect, no tragedy, no personality. The director is fully aware that the realism of a situation IS also a form of entertainment.

“Anti-spectacular, human, realistic, immersive and even empathetic in fine : EVEREST, the blockbuster anti-Spielbergien.”

Just then the famous “spectacle”, a term that needs to be (re)defined.

For me, the pinnacle of the spectacle film, it is Steven Spielberg. To greatly simplify, what I like about him it is this sequence: create empathy for his characters, and empathy that will feel some outstanding, outstanding, which increases the effect of the show. The whole, driven by a staging licked, and a dosage of the pace of the cleat.

In the film of Baltasar Kormákur, the search for realism enhances immersion, as in a scene – beautifully shot, amazing as that suffocating – in a state of mind: that of facing an enemy almost invincible (1h15min). This immersion prepares us, therefore, to the danger of the expedition, or could be called the spectacle a few moments, or the Man is confronted with nature (not for long: 20 min to blow up everything). The response to this danger will show the limits and exceedances of each, and what will be born a certain empathy (15 min).

Here it is: the opposite of a Spielberg, and the recipe of the blockbuster that he has himself initiated. It is as stimulating as destabilizing.

EVEREST will, therefore, in the facts (for spoilers, see you on the wiki page dedicated). The film we will all the same feel what implications do push so-and-so or so-and-so to challenge themselves, knowing full well the risks involved. It will show all that reality can be random, (and humanly of course) leaving to not correspond to anything possible.

There has been a lot said, probably for the sake of simplification : “EVEREST, nothing is done for an hour and then it FINALLY starts… then fall back. In short it is a little dramatic, but mostly boring”…

We can see it differently : EVEREST offers a new conception of the blockbuster… Anti-spectacular, human, realistic, immersive and even empathetic, in fine.

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THE OTHER OUTPUTS OF THE SEPTEMBER 23, 2015

INFORMATION


– CRITICAL

– a blockbuster spectacular, but cliché and lambda ?

Original title : Everest

Achievement : Baltasar Kormákur

Scenario : Justin Isbell, Mark Medoff, Simon Beaufoy, Lem Dobbs, William Nicholson

Main actors : Jason Clarke, Josh Brolin, Jake Gyllenhaal, Keira Knightley, Sam Worthington, Michael Kelly, Emily Watson, Mia Goth

Country of origin : England, U. S. A.

Released : September 23, 2015

Duration : 2h2min

Distributor : Universal Pictures International France

Synopsis : Inspired by a disastrous climbing attempt of the highest mountain in the world, Everest follows two separate shipments that are confronted with the most violent snow storms that man has ever known. Fighting against the extreme severity of the elements, the courage of the climbers is put to the test by obstacles which are increasingly difficult to overcome as their dream of a lifetime turns into a fierce battle for their salvation.

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