The Man Who Would Be King
There is a circularity it very clear The Man Who Would Be King , grounding the story from the relationship with the Myth and finally returns to the same to reveal the lies. Like all cinema John Huston, in fact, the substance placed on the field is that of two men trying to escape the fate imposed by the circumstances to find personal fulfillment, following its own rules, but that will only experience a failure that will reveal the substantial mismatches in the world. The dialectic with the myth is interesting, especially compared to the other great work directed by the same time, the man from the seven western halters, where the legend - Fordiani - gives the story legitimacy.
Here instead the two crooks who decide to favor that fate has offered them the paper deception, can only aim to maintain when the awareness of living a fiction and use the same materials and for purely selfish. In contrast, when Daniel decides to embrace the way down his status of gods, thus ending up in order to legitimize the same in the face of history, politics, religion and customs of the place, he is rejected by them. Huston undertaking an intelligent reflection on the meaning of things, expanding the system of references following the logic of concentric circles: the original novel becomes a tale that involves the same Rudyard Kipling as a witness, in accordance with the logic of the New Hollywood Seventies which aims to clarify the role of both When the narrator of the public to be thinking about the power of the narrative and thus open the gates unpublished metaphorical possibilities of the story. No coincidence that the film is rightly seen as a satire of colonialism, where the sharp lines of the two crooks el'arrivismo echoes the opportunistic nineteenth century the great powers, who hid their gold rushes behind the conviction to bring progress to the nations won (logic, however, far away, as evidenced by the pre-emptive wars of this century).
E ', however, especially interesting how the film articulates these discourses in relation to public expectations, generated from the knowledge of the stylistic genre. The Man Who Would Be King , in fact, never occurs for what is not: a classic adventure film from the matrix to the extent that apparently is due to a storyline direct and linear in its instances. The public, as is the case with Daniel during the crossing of glaciers or the monks who pass through the Kafiristan, is so extended in the role of the blind person who proceeds on his way, following the signs of identity for adventure: exotic locations, colorful characters, a couple of the characters but opposed by a strong camaraderie. The film works wonderfully from this point of view, thanks to the eye always curious director, which focuses on faces, on the creativity inherent in the chaos of the streets and always manages to get the optimum effect of every shot: does not seem weird to see so many steps in a model for future raids Spielberg Indiana Jones.
But the story is clear in the firm bringing the perspective of looking at Peachy, which is no coincidence that the same will be the narrator: his cynical pragmatism, not at all prone to the lure of fate, but always firm in his conviction to perpetrate the deception until the same will produce individual wealth and not collective, allows him to always have that strong cross-disciplinary look that will not make mistakes. Huston extrinsic Michael Caine's character through his pessimism about the possibility of a palingenesis, in a world where individualism can only have hope of salvation. A film to be rediscovered, along with the excellent performance of the two actors Connery and Caine, chosen to replace Paul Newman and Robert Redford, the director had set as his first preference.
The Man Who Would Be King
(The Man Who Would Be King)
Director: John Huston
Screenplay: John Huston and Gladys Hill (novel The Man Who Would be King by Rudyard Kipling )
Source: US / GB, 1975
Length: 123 '
Joined
The Cinema of John Huston
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