is tactless and cruel to speak ill of a film mutilated, but before the death of its lead actor Terry Gilliam has taken the risk of concluding, we too, in this service book, we get to criticize it. Parnassus - the man who would cheat the devil (another opportunity lost by the Italian translation, which has ruined the original, much more evocative, The Imaginarium of Doctor Parnassus), though it is already known to history as the last film of Heath Ledger alive, there is his first film seemed pretty dead.
Ledger, for all, the angel is sacrificed, the unforgettable Joker, the James Dean these days so little accustomed to mythology. Inevitably, then, that at the beginning of the end credits of his latest effort does not read the name of the director, but the inscription, "a film by Heath Ledger and his friends." For the record that are, as you know, Jude Law, Colin Farrell and Johnny Depp. Stars who stand beyond the mirror, who well (Farrell), who badly (Law), who remaking itself (Depp, now a prisoner of his own acting eccentric). Gilliam, his imagination of paper, cloth and pulleys is the only scenario, unfortunately the computer junkie, although still capable of peak expression (such as walking on broken glass Parnassus's daughter, played by the porcelain Valentina Lily Cole).
for ourselves, we would be able to give content to work following the great start, a street theater (the Imaginarium of course), set in a London suburb, where Doctor Parnassus (Christopher Plummer worn with a greasepaint) invites souls to transcend their earthly dimension, venturing into her own - and their - fantasy. But when the party is Ledger, hung under the bridge as an omen of the Friars Blacks (do not know why I thought of Jeff Buckley, perhaps because of the water), and discovers that he is still alive (or dead), the story does not know if he or rotate around the main theme, namely the battle with the Devil Doctor, enamored of her daughter and ready to reclaim it, in fulfillment of a pact Faustian. Mr. Nick, the name of Lucifer to Gilliam, Tom Waits is, of course, that rather than a devil looks terrible singer, hint of a mustache understood, at least since he started playing in broken glass gypsy dresses.
Nobody will tell us that the first part of the sequences are too long (including the lines connecting the petulant nano Parnassus) because it was necessary to ensure a shot with Ledger as possible. After all, is its own character to be unresolved, its provenance and then in destiny, and, when multiplied in appearance, even more ambiguous, but simply shattered, like everything else. Collapses because the theater of Parnassus, collapses the hope of winning the decisive bet with the Devil (who wins the first five souls saved to Valentina), collapses ultimately too oblique, often cruel, grotesque charge of Gilliam, which dilutes all in a pleasant but unnecessary uproar.
In the end, Ledger is dead for at least one time Law has released more smiles than necessary, Waits will return to dance alone, and Plummer to look away from his daughter, torn from the company around, but not the imagination the world, which has reserved, it seems, a new existence. Because - and this is what remains - the sense of a story (of life) is in his own creative and regenerative force. But if you do this, the cinema, can have fun, we stayed in the room, struggling with the switch on the lights, it is sad to know that everything was informed by a break: the leading man has raised the trick, maybe drunk staggered breaks in recitative (as does Parnassus, bored eternity), leaving us in exchange for duplication, vapid and useless. And throwing him the weight of absence, which is small on the screen as a flurry of confetti.
In a sentence: "nothing is forever, not even death"
Sconsigliatissimo: who are still locked corrosive to the vein of Gilliam's Brazil and Twelve Monkeys.
Rating: KK
Ledger, for all, the angel is sacrificed, the unforgettable Joker, the James Dean these days so little accustomed to mythology. Inevitably, then, that at the beginning of the end credits of his latest effort does not read the name of the director, but the inscription, "a film by Heath Ledger and his friends." For the record that are, as you know, Jude Law, Colin Farrell and Johnny Depp. Stars who stand beyond the mirror, who well (Farrell), who badly (Law), who remaking itself (Depp, now a prisoner of his own acting eccentric). Gilliam, his imagination of paper, cloth and pulleys is the only scenario, unfortunately the computer junkie, although still capable of peak expression (such as walking on broken glass Parnassus's daughter, played by the porcelain Valentina Lily Cole).
for ourselves, we would be able to give content to work following the great start, a street theater (the Imaginarium of course), set in a London suburb, where Doctor Parnassus (Christopher Plummer worn with a greasepaint) invites souls to transcend their earthly dimension, venturing into her own - and their - fantasy. But when the party is Ledger, hung under the bridge as an omen of the Friars Blacks (do not know why I thought of Jeff Buckley, perhaps because of the water), and discovers that he is still alive (or dead), the story does not know if he or rotate around the main theme, namely the battle with the Devil Doctor, enamored of her daughter and ready to reclaim it, in fulfillment of a pact Faustian. Mr. Nick, the name of Lucifer to Gilliam, Tom Waits is, of course, that rather than a devil looks terrible singer, hint of a mustache understood, at least since he started playing in broken glass gypsy dresses.
Nobody will tell us that the first part of the sequences are too long (including the lines connecting the petulant nano Parnassus) because it was necessary to ensure a shot with Ledger as possible. After all, is its own character to be unresolved, its provenance and then in destiny, and, when multiplied in appearance, even more ambiguous, but simply shattered, like everything else. Collapses because the theater of Parnassus, collapses the hope of winning the decisive bet with the Devil (who wins the first five souls saved to Valentina), collapses ultimately too oblique, often cruel, grotesque charge of Gilliam, which dilutes all in a pleasant but unnecessary uproar.
In the end, Ledger is dead for at least one time Law has released more smiles than necessary, Waits will return to dance alone, and Plummer to look away from his daughter, torn from the company around, but not the imagination the world, which has reserved, it seems, a new existence. Because - and this is what remains - the sense of a story (of life) is in his own creative and regenerative force. But if you do this, the cinema, can have fun, we stayed in the room, struggling with the switch on the lights, it is sad to know that everything was informed by a break: the leading man has raised the trick, maybe drunk staggered breaks in recitative (as does Parnassus, bored eternity), leaving us in exchange for duplication, vapid and useless. And throwing him the weight of absence, which is small on the screen as a flurry of confetti.
INFORMATION
Parnassus - The man who would cheat the Devil
Parnassus - The man who would cheat the Devil
In a sentence: "nothing is forever, not even death"
Sconsigliatissimo: who are still locked corrosive to the vein of Gilliam's Brazil and Twelve Monkeys.
Rating: KK
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