இந்த
படம் எனக்கு குடுத்த ஃபீலிங்க் விவரிக்க முடியாதது... சின்ன வயசுல கருப்பு
வெள்ளையில படிச்ச ராணி காமிக்ஸ், முத்து காம்க்ஸ் எல்லாம்
ஞாபகபடுத்திடுச்சு....
ஒரு கார்ட்டூன் மாதிரியான மேக்ல ஒரு படம் எடுக்கனும்ன்னா??? எப்பா என்னா உழைப்பு.... காமிக்ஸ் கேரக்டர்க்கெல்லாம் உயிர் வந்து அது எல்லாம் துப்பாக்கியும் கையுமா சுத்துனா எப்படி இருக்கும்??!!.. அப்படி இருக்கு.
செம வயலன்ட்...செம ஸ்டைல், கண் கொள்ளா காட்சிபடுத்தல்....Mickey Rourke ஒரு காட்சியில் தண்ணீரில் காருடன் மூழ்குவார்... கார் ஒரு புறம் மூழ்க அவர் மேலே நீந்தி வரும் காட்சி... அக்மார்க் காமிக்ஸ் காட்சி... அசந்து விட்டேன்..!! (அந்த காட்சியை ஸ்க்ரீன் ஷாட் எடுத்து கமென்ட்டில் போடுகிறேன்).
கதையினு பார்த்தா... ஒரு கலவையான காமிக்ஸ் கதை... ஆக்ஷன் த்ரில்லர்...// காமிக்ஸ் நாம கதை தெரிஞ்சா படிக்கிறோம் ?? எஞ்சாய் பண்றதில்ல?? படம் வாய்ப்பு கிடைத்தால் மிஸ் பண்ணாதீங்க... //
நிறைய நல்ல படங்களை அது கருப்பு வெள்ளையில இருக்குன்னே பார்க்காம விட்டிருக்கேன்.... :( So Sad.... இனி எல்லாத்தையும் பார்த்துறனும்...
:)
ஒரு கார்ட்டூன் மாதிரியான மேக்ல ஒரு படம் எடுக்கனும்ன்னா??? எப்பா என்னா உழைப்பு.... காமிக்ஸ் கேரக்டர்க்கெல்லாம் உயிர் வந்து அது எல்லாம் துப்பாக்கியும் கையுமா சுத்துனா எப்படி இருக்கும்??!!.. அப்படி இருக்கு.
செம வயலன்ட்...செம ஸ்டைல், கண் கொள்ளா காட்சிபடுத்தல்....Mickey Rourke ஒரு காட்சியில் தண்ணீரில் காருடன் மூழ்குவார்... கார் ஒரு புறம் மூழ்க அவர் மேலே நீந்தி வரும் காட்சி... அக்மார்க் காமிக்ஸ் காட்சி... அசந்து விட்டேன்..!! (அந்த காட்சியை ஸ்க்ரீன் ஷாட் எடுத்து கமென்ட்டில் போடுகிறேன்).
கதையினு பார்த்தா... ஒரு கலவையான காமிக்ஸ் கதை... ஆக்ஷன் த்ரில்லர்...// காமிக்ஸ் நாம கதை தெரிஞ்சா படிக்கிறோம் ?? எஞ்சாய் பண்றதில்ல?? படம் வாய்ப்பு கிடைத்தால் மிஸ் பண்ணாதீங்க... //
நிறைய நல்ல படங்களை அது கருப்பு வெள்ளையில இருக்குன்னே பார்க்காம விட்டிருக்கேன்.... :( So Sad.... இனி எல்லாத்தையும் பார்த்துறனும்...
If film noir was not a genre, but a hard man on mean streets with a lost
lovely in his heart and a gat in his gut, his nightmares would look
like "Sin City." The new movie by Robert Rodriguez and Frank Miller plays like a convention at the movie museum in Quentin Tarantino's
subconscious. A-list action stars rub shoulders with snaky villains and
sexy wenches, in a city where the streets are always wet, the cars are
ragtops and everybody smokes. It's a black-and-white world, except for
blood, which is red, eyes which are green, hair which is blond, and the
Yellow Bastard.
This isn't an adaptation of a comic book, it's like a comic book
brought to life and pumped with steroids. It contains characters who
occupy stories, but to describe the characters and summarize the stories
would be like replacing the weather with a weather map.
The movie
is not about narrative but about style. It internalizes the harsh world
of the Frank Miller "Sin City" comic books and processes it through
computer effects, grotesque makeup, lurid costumes and dialogue that
chops at the language of noir. The actors are mined for the archetypes
they contain; Bruce Willis, Mickey Rourke, Jessica Alba, Rosario Dawson, Benicio Del Toro, Clive Owen
and the others are rotated into a hyperdimension. We get not so much
their presence as their essence; the movie is not about what the
characters say or what they do, but about who they are in our wildest
dreams.
On the movie's website, there's a slide show juxtaposing
the original drawings of Frank Miller with the actors playing the
characters, and then with the actors transported by effects into the
visual world of graphic novels. Some of the stills from the film look so
much like frames of the comic book as to make no difference. And
there's a narration that plays like the captions at the top of the
frame, setting the stage and expressing a stark existential world view.
Rodriguez
has been aiming toward "Sin City" for years. I remember him leaping out
of his chair and bouncing around a hotel room, pantomiming himself
filming "Spy Kids 2" with a digital camera and editing it on a computer.
The future! he told me. This is the future! You don't wait six hours
for a scene to be lighted. You want a light over here, you grab a light
and put it over here. You want a nuclear submarine, you make one out of
thin air and put your characters into it.
I held back, wondering
if perhaps the Spy Kids would have been better served if the films had
not been such a manic demonstration of his method. But never mind; the
first two "Spy Kids" were exuberant fun ("Spy Kids 3-D" sucked, in great part because of the 3-D). Then came his "Once Upon a Time in Mexico"
(2003), and I wrote it was "more interested in the moment, in great
shots, in surprises and ironic reversals and closeups of sweaty faces,
than in a coherent story." Yes, but it worked.
And now Rodriguez
has found narrative discipline in the last place you might expect, by
choosing to follow the Miller comic books almost literally. A graphic
artist has no time or room for drifting. Every frame contributes, and
the story marches from page to page in vivid action snapshots. "Sin
City" could easily have looked as good as it does and still been a mess,
if it were not for the energy of Miller's storytelling, which is not
the standard chronological account of events, but more like a tabloid
murder illuminated by flashbulbs.
The movie is based on three of
the "Sin City" stories, each more or less self-contained. That's wise,
because at this velocity, a two-hour, one-story narrative would begin to
pant before it got to the finish line. One story involves Bruce Willis
as a battered old cop at war with a pedophile (Nick Stahl). One has Mickey Rourke waking up next to a dead hooker (Jaime King).
One has a good guy (Clive Owen) and a wacko cop (Benicio Del Toro)
disturbing the delicate balance of power negotiated between the police
and the leader of the city's hookers (Rosario Dawson), who, despite her
profession, moonlights as Owen's lover. Underneath everything is a
deeper layer of corruption, involving a senator (Powers Boothe) whose son is not only the pedophile but also the Yellow Bastard.
We
know the Bastard is yellow because the movie paints him yellow, just as
the comic book did; it was a masterstroke for Miller to find a
compromise between the cost of full-color reproduction and the economy
of two-color pages; red, green and blue also make their way into the
frames. Actually, I can't even assume Miller went the two-color route
for purposes of economy, because it's an effective artistic decision.
There
are other vivid characters in the movie, which does not have leads so
much as actors who dominate the foreground and then move on. In a movie
that uses nudity as if the 1970s had survived, Rosario Dawson's stripper
is a fierce dominatrix, Carla Gugino shows more skin than she could in Maxim, and Devon Aoki employs a flying guillotine that was borrowed no doubt from a circa-1970 Hong Kong exploiter.
Frank
Miller and Quentin Tarantino are credited as co-directors, Miller
because his comic books essentially act as storyboards which Rodriguez
follows with ferocity, and because he was on the set every day,
interacting with the actors; Tarantino because he directed one brief
scene on a day when Rodriquez was determined to wean him away from
celluloid and lure him over the dark side of digital. (It's the scene in
the car with Owen and Del Toro, who has a pistol stuck in his head.)
Tarantino also contributed something to the culture of the film, which
follows his influential "Pulp Fiction"
in its recycling of pop archetypes and its circular story structure.
The language of the film, both dialogue and narration, owes much to the
hard-boiled pulp novelists of the 1950s.
Which brings us, finally,
to the question of the movie's period. Skylines suggest the movie is
set today. The cars range from the late 1930s through the 1950s to a
recent Ferrari.The costumes are from the trench coat and G-string era. I
don't think "Sin City" really has a period, because it doesn't really
tell a story set in time and space. It's a visualization of the pulp
noir imagination, uncompromising and extreme. Yes, and brilliant.
thanks: rogerebert.com
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