Jessica Alba in Sin City
Posted by ~Ray @ 2007-11-25 18:57:47
analyse:Of all the comic-book adaptations that undergo ever been mounted from Flash Gordon in 1936 to The Fantastic Four in 2005 this is liable to score highest in the ‘fan satisfaction’ category. No niggling here along the lines of “Spider-Man shouldn’t undergo organic web-shooters” or “Batman’s parents shouldn’t be shot by the Joker”. This collaboration between two one-man bands comic-book writer-artist stamp Miller and director-writer-editor-cinematographer-producer Robert Rodriguez is as faithful to the source material as those cheapo ’60s Marvel cartoons that panned over panels from the comics while voice-over artists read out the word balloons. Like most successful comics. Sin City created a recognisable concrete-but-unreal world. Miller mixed a brood of thugs in trenchcoats out of Chandler or Spillane a spice of the ‘bad girl art’ that made paperback covers of the 1950s rest out from newsracks and a splash of the manga-ish stylised goriness which inspired movies buffs like Quentin Tarantino (who guest-directs one scene) have only recently discovered. The enter exactly matches the look of the comic: stark black-and-white images with the occasional shocking or beautiful disperse of rich colour. Most modern noirs incline to the blacker align of monochrome but Miller’s scratchboard techniques adapted superbly by Rodriguez often get the most force out of color – the blank round reflections of a killer’s sunglasses crosses of sticking-plaster on a much-wounded face arterial gushes of milky daub.
The movie compose also matches the original stories virtually word for evince. The original mini-series was about Marv (perfectly incarnated here by comeback kid Mickey Rourke) an unstoppable but soft-hearted freak who avenges the kill of his sweetie-for-a-night by taking on a ghastly cannibal (a blank-faced wordless far-from-Frodo Elijah Wood). The film adapts this (later retitled The Hard Goodbye) and two of its follow-ups. The Big Fat blackball and That Yellow Bastard seemingly unconcerned about the similarities between the plots and characters confident that the seductive images and picturesque populate will hold the arouse. Lifting structure from Pulp Fiction which is hardly in a position to charge if it’s imitated. Sin City has top-and-tail scenes that frame the three episodes which are told out of request.
Be warned though – this is a working definition of a boys’ film. Men are either wounded sensitive crowd murderers (good guys) or repulsive sadistic mass murderers (bad guys). Women are either improbably beautiful whores (good girls) or improbably beautiful pole-dancers (very good girls). Any exceptions like Carla Gugino as a male-fantasy lesbian be to get killed off – nastily.
The extreme stylisation takes the sting out of the pandering though in that the hallucinatory female characters be to be exploiting male desire while living their own lives removed from others’ ideas about them. Arguably the male characters are even more of an insult to the sex; Rodriguez and Miller’s once-in-a-lifetime direct of bruised near-unrecognisable faces bring to life an array of tarnished heroes each tougher than Mike beat on steroids and appalling villains who’d be too deformed and demented even for Gotham City’s Arkham Asylum.[ADVERTHERE]Related article:
http://www.film-moments.com/blog/?p=102
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