Cinemafantastique's review about OM

[jaramajo.livejournal.com]

 This Spanish translation from that review find by  westmoon   
I wait serai1  translation, please.

Con Los Crímenes de Oxford De la Iglesia se introduce en el thriller con un "whodunit" universitario dotado de un espíritu de la vieja escuela más que de una manera moderna. Crímenes, una investigación, sospechosos, detectives... ¿pero quien lo ha hecho?.

Primeras constataciones, De la Iglesia se mantiene en gran forma y su puesta en escena es magistral de principio a fin, planos en "stead", una cámara que parece flotar alrededor de los personajes y sigue su ritmo natural para posarse solo en las escenas más intimistas. Por cierto el film incluye un falso plano secuencia sin cortes al principio de la película. El conjunto de la cosa se completa por la muy buena partitura de Roque Baños y la fotografía hypra léchée [hyper-liked?] de Kiko de la Rica, de la que ya fue responsable en La Comunidad y en Lucía y el Sexo [this one isn’t an Alex’s film]. Que bueno que De la Iglesia sitúe su intriga en Oxford y sus alrededores, los decorados están bien utilizados y crean una atmósfera de una extraña rusticidad sacada directamente de un Hot Fuzz, hecha de edificios opulentos y medio vacíos, de viejos muebles de madera crujiente, de jardines bien cuidados... Si la forma es brillante el fondo es menos perfecto o ferpecto a elegir.

De la Iglesia se aproxima al thriller de la manera más seria posible pero solo en apariencia, porque, es evidente, le es un poco difícil abandonar sus viejos hábitos, es decir crear personajes odiosos: Elijah Wood es un molesto estudiante [la traducción sería "un coñazo de estudiante"] americano, narcisista, obsesionado por su propia inteligencia, John Hurt encarna a un viejo profesor cínico, manipulador y amargado y siguiendo así con cada personaje. Se vuelve a encontrar el trazo feroz del gran Alex a través de sus personajes pero también en los temas abordados en la película. La vida vista a través de un prisma deformador. Aquí las matemáticas, en 800 Balas fue la nostalgia del western, en El Crimen Ferpecto son los centros comerciales, en Muertos de Risa la televisión... Por tanto De la Iglesia es sus personajes, no pueden afrontar la vida de frente y por tanto se enfrentarán a opciones cruciales tales como elegir vivir su vida o vivir la ilusión de su vida o bien más universal: la elección entre el Bien y el Mal. Con diferencia Lorna encarna el personaje más positivo de la película y por consiguiente representa una forma del Bien. Es entre este Bien, representado por el Amor, y el Mal en que el personaje de Elijah Wood estará tiroteado. Otra característica del cine del español que no ha sido evitada en estos Crímenes de Oxford: un humor muy negro y un sentido del absurdo desarrollados como nunca. Por ejemplo la secuencia de la persecución por los tejados durante el concierto, un homenaje delirante y extremadamente regocijante a Guy Fawke. El personaje del estudiante ruso totalmente "out of his world" está tan enfadado que raya el absurdo típicamente "De la Iglesiano". He aquí pues una película que se inscribe totalmente en la lógica del autor y que no rompe con el saber hacer del gran hombre. El hecho de dirigir en inglés no parece haberle entorpecido ya que los actores son excelentes, sobre todo el dúo Wood/Hurt que libra una batalla psicológica amor/odio de las más logradas. Leonor Walting, símbolo del Bien en esta historia, está totalmente deliciosa, como enfermera, justo en medio de esos dos genios. En fin, la guinda del pastel, la película nos ofrece la mejor escena de preparación/degustación de espaguetis jamás vista en el cine.

Pero también hay que enunciar los puntos malos y entre ellos citaré una intriga a veces alambicada, un final aclaratorio inevitable en este género de películas pero siempre plúmbeo y un ritmo a veces desigual, algunas escenas hacen bajar el suflé en algunos momentos. Se puede también reprochar el clasicismo faltado de un poco del picante propio del realizador.

Pero al final el saldo es muy positivo para un De la Iglesia que hace con esta película una ruptura en la continuidad y firma una adaptación viva del Cluedo, desigual cierto pero de lo más regocijante.

 

Comments

[serai1.livejournal.com]

Yes, boss. Right away, sir! *runs to obey*

;D

[westmoon.livejournal.com]

It's a good thing you like the guy! You've put in a full day's work here!

Translation

[serai1.livejournal.com]

The Oxford Murders is De la Iglesia's first thriller, a "whodunit" set in a university, endowed with a sensibility more old-school than modern. Murders, an investigation, suspects, detectives...but who did it?

First of all, De la Iglesia is in top form, and his staging is majestic from start to finish. Shot in Steadicam, a camera that seems to float around the characters, and follows a natural rhythm to insinuate itself into the most intimate of scenes. Of course the film includes a false single shot without cuts at the start of the film. [Note: This is a little unclear to me, but I think he means the first scene is done in a single shot without cutting, and that it gives the audience a misleading impression of the characters. I think.] The whole thing is capped off by Roque Baños' excellent score and the polished cinematography of Kiko de la Rica, who lensed The Community and Lucia and Sex. How great that De la Iglesia sets his thriller in Oxofrd and its surroundings. The locations are well-used and create a strangle rustic atmostphere plucked straight from Hot Fuzz, made up of opulent and half-empty buildings, creaky wood furniture, and well-manicured gardens. If the style is brilliant, the background is less perfect, or "ferpect" if you prefer. [Note: This is a pun on the title of Alex's film Crimen Ferpecto, "The Ferpect Crime," itself a joke title.]

De la Iglesia approaches the thriller in the most serious manner possible, because it seems he finds it a bit difficult to abandon his old habits, that is to say, creating odious characters - Elijah Wood plays an asshole American student, narcissistic and obsessed with his own intelligence; John Hurt an plays old, cynical professor, embittered and manipulative - and it goes on like that with each character. Once again, we can discern Alex's fierce strokes in his characters but also in the themes woven through the film. Life viewed through a distorted lens. Here it's mathematics, where in 800 Bullets it was Western nostalgia, in The Ferpect Crime it was shopping malls, in Died Laughing it was television. To the extent that De la Iglesia is his characters, they can't face up to life and so they confront crucial options such as how to choose between living life as it is or living their dreams of life, or more generally the choice between Good and Evil. In contrast, Lorna embodies the most positive character in the film and thus represents Good in the flesh. It's between Good, represented by Love, and Evil that Elijah Wood's character tries to aim. Another characteristic of Spanish cinema that has not escaped The Oxford Murders is a very black humor, and a sense of the absurd taken to extremes. For example, the chase sequence over the rooftops during the concert (an delirious and extremely delightful homage to Guy Fawke). The character of the Russian student totally out of his element gets so angry that he borders on the typical De la Iglesias type. So here is a film which is based completely on the author's logic , and which doesn't stray from the great man's modus operandi. That he directed it in English doesn't seem to have slowed him down, since the actors are excellent, especially the duo of Wood/Hurt, who engage in a most accomplished psychological love/hate battle. Leonor Watling, symbol of Good in this story, is utterly delicious as the nurse caught between the two geniuses. And as the cherry on top, the film offers the best scene of preparation and enjoyment of paste ever seen on film.

But its faults must also be pointed out, and among these are the sometimes convoluted nature of the mystery, a denouement typical of this genre but which always feels leaden, and a sometimes uneven rhythm; some scenes fall flat at times. One could also regret its classicism, which lacks the director's usual bite.

In the end, though, it's a positive outcome for a De la Iglesia, who with this film breaks with the usual and creates a live-action Clue, uneven but definitely enjoyable.

Re: Translation

[ladysnaps.livejournal.com]

Elijah Wood plays an asshole American student, narcissistic and obsessed with his own intelligence

*shudders with glee* how i've been waiting for such a character from elijah. totally opposite of himself. well, except for the intelligence part. ;-)

thanks so much for the translation. this must be the 3rd review i've read (translated by you ♥) that says this is an above average, non-typical, smart and dare i say it? sexy thriller. (the best scene of preparation and enjoyment of pasta on film)

*fans self*

You're welcome!

[serai1.livejournal.com]

I KNOW. I too am looking forward to Elijah playing somebody so snotty and annoying. It'll be interesting to see what colors he puts on the character - will he be snotty because he feels inferior to the British, or because he's an A student in the US and feels he's entitled to respect he hasn't earned in England? Or will he be snotty just because he's always been snotty? Elijah's acting is really fun to watch (when he's given good material), so this will be a real treat!

Re: You're welcome!

[westmoon.livejournal.com]

I can't wait to see this - especially now that I know what they've done with Martin's character. Wooho! Go snotty Elijah!

Thanks to you both for all your hard work.

A couple of comments

[serai1.livejournal.com]

First of all, I cannot say how GLAD I am to hear this film is shot in Steadicam. I consider hand-held camerawork to be the DEVIL'S WORK. It is hideous, nausea-inducing, and completely off-point, clearly indie filmmakers' attempts to capture the feel of real eyesight. Well, it DOESN'T WORK, mainly because a person's eyes do not do that. Have any of you ever noticed your vision bouncing around like crazy when you walk? Of course not! That's because your eyes are set in their sockets in a liquid medium, making for the same steady movement that you find in...surprise!...STEADICAM. The handheld shit is for amateurs who care more about their own egos than about thinking logically. THANK YOU ALEX.

But I digress.

Next, YAY for all the great reviews! I am so glad to hear so many people giving this film the thumbs-up. Elijah, bless his heart, has more than a few things in common with my former heartthrob, Keanu Reeves, and one of the worst is his seeming destiny of signing up for films that look great at the start but turn out, when all is done, to be crap. So it's great that this one looks to become a feather in his cap.

Last but certainly not least, SPAGHETTI. As a believer in the FSM, I welcome this new Pastafarian ritual to the canon. May this film be touched by His Noodly Appendage, and may His Holy Marinara cover all involved in its production!

Re: A couple of comments

[ladysnaps.livejournal.com]

i agree with you on the hand-held camera work. sometimes though i can accept it, but not for my own line of sight, but for the action or meaning that's coming across. the majority of the time however, it's unnecessary. the steadicam is much more effective for the very reasons they stated. to float around the characters as if you are there with them and not just a witness to what's happening.

and i've always liked spaghetti. meat sauce, marinara, or with a touch of olive oil. i may love it even more after seeing the film. ;-)

Re: A couple of comments

[serai1.livejournal.com]

As a Pastafarian, I expect to go into religious raptures on seeing this film. I'll definitely have to wear my FSM t-shirt to the theater!

Re: Translation

[bellewood.livejournal.com]

When i first read this through, the words.."Elijah Wood plays an asshole American student"..and i thought..oh god no, they hate it! Probably because i assumed he was talking about the guy and not his character..'whew'..

Oddly, in the book, he doesn't come across as an asshole, well, not to me anyway, though it's a while since i read it.. more an admiring protege rather than a 'narcissistic' know-all.. But the book was rather tame.. the film sounds anything but.. thank goodness..It'll be interesting to see how unappealing he makes himself.. can't wait!

Re: Translation

[bellewood.livejournal.com]

Sorry, meant to say..thanks a lot for the translation.. :/

Re: Translation

[serai1.livejournal.com]

You're welcome. :)

I'm interested in seeing whether he comes across as an asshole to an English-speaking audience, or whether it's something more culturally related. Since my family is of Spanish extraction (my dad's from Sevilla), I think I'll be able to see if it's a matter of him rubbibg Spaniards the wrong way. If so, I'll definitely let people know.

Re: Translation

[jaramajo.livejournal.com]

About "single shot without cuts", they are a couple of great examples: Hitchkocks' The Rope (La soga) and initial shoot in Orson Welles' Touch of Evel (Sed da mal).

Re: Translation

[jaramajo.livejournal.com]

Oh, and many many thanks.
"Asshole" for coñazo is perfect.

Re: Translation

[serai1.livejournal.com]

You're welcome. When I saw coñazo, I knew exactly what he meant.

[serai1.livejournal.com]

since the actors are excellent, especially the duo of Wood/Hurt, who engage in a most accomplished psychological love/hate battle.

Oh gods, I can just see the slash writers rolling up their sleeves...

[ginny101.livejournal.com]

thanks for the 2 translations it is great how everyone works together to be able to get the info out. I can't wait to see this ! thanks again for the tine you both spent tranlating this so we could all enjoy it

[ginny101.livejournal.com]

sorry for the spelling. i it post before a checked if my fingers were working properly

[serai1.livejournal.com]

You're welcome. I'm totally looking forward to it as well!

[sssneaking.livejournal.com]

Thank you very much to both of you!

[wakerobin.livejournal.com]

Thanks so much, guys! True collaboration. Elijah would be proud. Interesting point - in the book Elijah's character is in the first person and he's a bit full of himself but basically an okay guy - but it sounds like Alex and Elijah have come up with a much edgier, nasty-ass persona. Good. Just showcases Elijah's range.

[serai1.livejournal.com]

You're welcome! I'm really feeling like I wanna read this book, but since the reviews of the film are so good, I'm going to wait until after I see it.

[westmoon.livejournal.com]

Actually, my favourite parts of the book were the math bits, because like Elijah, I hated it in school and was not good at it; today I admire the hell out of mathematicians who can take what's to me the unexplainable and make what seems to be magic out of a few scribbled figures.

So I liked it, despite the mystery and characters being (IMO) the least developed parts of the story. Mind you, it was a translation, so I hate to be too critical.

[myen-li.livejournal.com]

Thank you! I really enjoyed that. Great review and very promising. I like how they've expanded the book into so much more. I can't wait for it!

[bellewood.livejournal.com]

Thanks for spotting and posting this.. i'm so glad/relieved it's a good review.

[aprilkat.livejournal.com]

Thank you both - again! You keep bringing us the goods.

[frolijah-fan-54.livejournal.com]

Thanks so much for posting and the translation - it really seems to be getting good reviews (not perfect but very good) and good reviews for Elijah as well!! YOOHOO!!

[chickenlegs-11.livejournal.com]

Thank you so much and to Serai for the wonderful translation. This review really has me excited!

[mole-caz.livejournal.com]

Thanks from me too. So Martin is an arsehole? Never saw that coming so interesting indeed. The more I think about it, the more I realise how lucky Elijah was working with such a great actor as John. I've always been fascinated by him and I'm certain Elijah will have learnt so much from him.