Thieves corpses (Burke & Hare)
masterpiece An absolute Trading Places , look sharp, John Landis gave his best in revealing the caliber of the human drama that underlies the apparently pleasant bet between the two old high finance. It was then, as now, to find a perspective that, given the context - only X-rayed with sagacity and foresight - was also able to explore those hidden corners of reality, to let emerge the feelings, contradictions, and the physicality of the figures otherwise destined to remain in the shadows. The spirit behind the great American director in his new, wonderful film was thus the same.
There In fact a lot of tension to the real that is going to counter a stratified reality, which seems to be his only chance descriptive through its representation: the executions that take place in public in the acclamation of a crowd respond "on command" , the theatrical performances, not to mention the frame with the narrator who speaks directly to the viewer, all in grave robbers pay their respects seems the idea of \u200b\u200ba reality that follows a script. The choice is not random, since the story taken from real events and historicized and thus already known. In the "true story" (and then known), Landis however, interested in leaving out "the parts that are not" the exception is, therefore, the true heart of the story, one that promotes innovative and looks that often occurs through the reversal of perspectives.
The speech is much more complex as it extended its influence to the very structure of the film, which looks like a horror-comedy , but it really does not show any intention to play the card of terror and also in comedy does not find its full realization: not least because it can nell'insperata emotional component, which spells out the film as an impossible love story contours almost fairy-tale, though not without its tragic inspiration.
Burke and Hare, then, summarize and expand this through the same dichotomy that the duo staged their physicality with: Andy Serkis / Hare represents the component "materialistic" duo, what orchestra plans and maintains public relations with buyers and fences, and his figure appears physically more extreme, caricatured, a form which is no coincidence that forms the body of the actor made famous by performance capture Peter Jackson (Lord of the Rings Gollum in , King Kong). Even his relationship with his wife is based on some sort of peace and mutual tolerance, a "marital duties" that is expressed in one sex only rampant but performative. Hare, in short, is the starting point of a reality that runs out in the outer well-being tautological.
In contrast, Burke's great Simon Pegg is the element that favors instead the human dimension more closely and less "physics" of the duo, is the dreamer who also agree to bear the blame in a search for ' love it is also liberation from self. No coincidence that he uses his money in two directions to draw a parallel existence for himself (posing as a wealthy philanthropist) and to deliver his beloved to the realization in the size of the fabulous theatrical play. And 'he, therefore, the character at the same time more "real" and more "theater" of the duo, one in which Landis makes his synthesis of opposing perspectives, and that is no coincidence that sums up the meaning of his mission (and history) in A Proclamation to the public in the final. But that is inevitably destined to remain a prisoner rather than the rituals of a world that follows its script and will therefore be put back in the aforementioned circle of exploitation inhuman and academic competitions. What he had tried to break even obsequious dynamics, in an exquisitely beautiful contradiction landisiana or human.
grave robbers - Burke & Hare
(Burke and Hare)
Director: John Landis
Writer: Piers Ashworth, Nick Moorcroft
Duration : 91 '
Origin: UK, 2010
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