The Double Hour it is not a thriller
I have as soon as seen the italian film “the double hour”(2009) of Capotondi, go well that it is a work before and therefore it must be generous, but from this to define it a thriller full of dramatic turn of events runs some to us. It has written it to who evidently does not know or it has not never seen a thriller, besides not to have the minimal conception of the dramatic turn of events, atmospheres to background thriller or the noir French. I do not want to make comparisons with Hitchcock, it would not have sense and not even the overseas cinematography, would be enough see again a French classic like: "Les Diaboliques” (1954) of Henri George Clouzot, in order to understand what is a thriller, with tension and dramatic turn of events. Now not within of the merit of the history of the Italian film, than if it had been introduced various from the kind thriller, it would have many positive arrows to its arc, for the history originates them very and constructed, but outside from the thriller. We pass to the performance of the actors: In the " The double hour" , the feeling is had to suffer from an unexpected attack of deafnesses, forced to raise the sound- to speak, without to obtain no result. The actors whisper with discharged air, remaining “monochromium plateed us” in all the film, without never to change their performance to the service of their character, the question is, because? … They are good actors, but the result in this case is soporific. Returning to the film:“Les Diabolique”, the actors who compose the cast: True Clouzot, Paul Meurisse, Simone Signoret, Michel Serrault, Charles Vanel, recite using "rainbow"and the existing chromatic shadings, without never to scream , to whisper some, putting itself perfectly to the service of the film, entering in the atmospheres that a thriller must have, in osmosis processing way. I did not want and I do not want to ditch the film, who begins always goes supported, but I do not support who creates, from the pages of newspapers and, myths of clay, not only screaming to the miracle, creating false expectations and more worse still, deceiving and damaging she has realized it to who that she will not have reason to put itself in argument, improving itself. I would want more honesty than judgments from who of it must in order to return to fly high with the Italian cinema.Perhaps sometimes to watch itself behind (like the French film up) ago well, and not only for culture and acquaintance, but for humility of attempts.
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