Two or Three Things I Know About ... Saw Two or Three Things I Know About ... Saw
I have already addressed the saga of Saw - The Riddler , but willingly go back "at a crime scene "at the release of what is presented as the final chapter. In reality there is an unwritten rule of horror under which the series should never have an end: to present a chapter that serves as a fact, only to revive the franchise economically (because the audience is lured by the promise of seeing "how it ends ") or, if you prefer, we can recall what theorized brilliantly by Wes Craven in his Nightmare: New nightmare: to kill the monster (or simply carry out his deeds) would mean that the evil and therefore represent to quotas in a defined vision, leaving space to the unknown and the reproduction of the demon in another form.
However, for a continuation or less in the coming years, it is interesting to analyze the return on the saga twists that it has produced in recent film, when the collection was inherited by new Riddler followers who have carried out the deeds. In the first instance it is absolutely clear that it has failed enough to break the unity of the iconic villain , classically designed, bringing the franchise to territories dealt with only by the more radical series of Final Destination . What in fact becomes paramount is the mechanism of the killings, which surpasses the identity of commits the same. Once past the age of masked boogeyman, the horror of the new millennium seems to come to some sort of complete self-sufficiency that stops you need the monster as a figure on which to project his most disturbing figure. Which of course opens the door too far from mundane considerations peregrine or the withdrawal of a kind that works as a mechanism and not as a story that conveys primary sensations. It is no coincidence that the last 3D Saw is also the film that has the least screen presence of star Tobin Bell, which the manifesto devotes a symbolic statue, a reminder of nature not as iconic as archetypal.
The film from this point of view is as much an arrival as a synthesis of a saga that was only hinted: the horror is cartoonizza, thanks to the need imposed by the spectacular arts stereoscopy which claims launched towards the screen and amenities like that, and then loses that figure had more dark and hallucinated that the earlier chapters, particularly those signed by Darren Lynn Bousman. Do not feel the pain of the characters, but instead we are surrounded by a mechanism that, without malice, think about the representation of death rather than the implications it brings. It can be reached in this way a kind of abstraction, which ends gradually to permeate the story its ganglia, through this continuous production of red herrings, returns on the scene and discovered new perspectives from which to frame the main storyline. And 'the logic of the television serial mechanism applied to the cinema, where the testing and break the linearity of the story becomes the only conceivable way for a public who claim to be surprised and stimulated so breathtaking. An approach which, in turn, produces a film in continuous mixing and based on self-cannibalization of their important moments, constantly tested, replicated and exhibited.
It 's a very interesting aspect of a saga which then proves to be perfectly versed in their own time. And that rewrites the history of torture porn recently, by projecting an image of suffering, filiato from the horrors of war and physical abuses, until its revision in key pop , typical of the industrial approach to the genre. We are therefore not far from the process of demystification of the typical drift in the thirties wore Universal Monsters to become ridiculous caricatures in various cross-over, but this time with more control and lead self-consciousness of the route that you are facing, so prevent a renegade deep assumptions.
For better or for worse is a aspect to keep in mind. Especially if he implicates mechanisms that are typical of the culture of the spectacle: the feeling you get when the film is that writers and authors have thought it - perhaps even unconsciously - on the implications related to the exhibition of violence in our present. It therefore stands out as an extraordinary moment refounding the prologue in which the Riddler implements one of his traps in broad daylight, in front of an audience of unsuspecting passers-by. Thought can run to the masterful Dario Argento's Tenebre, but here the meaning is different: not theorize the omnipresence of evil, which he performed in open spaces, reflect on what the proper mechanisms of the show of pain, made famous by format such as Reality Show. Two boys and a girl, a love triangle based on defined roles, in which the two must kill each other to save the beautiful. Which of course will try to convince one or the other to sacrifice for her. We are fully versed in the mechanisms that affect the small screen, in the flavor pornographic voyeurism, here reflected in the public, while scared, observe the events without taking his eyes ever, even taking pictures and filming the event with mobile phones. Perhaps this sequence is one of the highest and most intelligent of the series and ends up becoming deference and self-sabotage at the same time the concept itself. In fact, if the Riddler played more a sort of purity of the truth, it is true that acts in a way that the horror genre serves as a mechanism for its spectacular based on the exhibition of violence. We think therefore also continually violating the bodies from the traps, sometimes even desirable, as is the case with that of Jill (the actress Betsy Russell), knowingly playing with expectations and dreams of the audience, outraged by the violations, but also pleased by their staging.
in all this are the secrets and the interest of a saga that has managed to expand the original idea along the arc of seven films and that it should be reiterated, perhaps it is more interesting than successful, but in any case can safely be ascribed to one of the principal of the new decade.
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