On the way to the fact that the legend, and the far more depressing legend of the return journey to the fact that, since versavam several of the latest and most disconsolate John Ford films. Whenever the issue of “heroism” in a country that has institutionalized, not to say that sacralized, the figure of the “hero” as an essential element of a mythology in permanent construction.
In his work, Clint Eastwood walked several times around, interrogating the nature of the “heroism” and their often tragic contours (such as Flags of Our Fathers ), questioning the nature of the “legend” and its potentially fraudulent ( as in Unforgiven .) – almost always a belief mixture and skepticism that is one of the complexity of the sources of his films in general
Lastly, and think in a movie like previous American Sniper , skepticism seems to have lowered the guard to let relief belief, or even more an almost desperate desire to confirm the belief. Belief, to put it simply, the ability to find, in this twenty-first century America, a figure of “American hero” that is as genuine as symbolically unquestionable, and to be the film to manufacture this “unquestionability” as America 1930s and 1940s still could and did do, in movies like Young Mr. Lincoln Ford or Sergeant York Hawks.
Expressing it more or less verbal violence, Clint have been really surprised at the rebound caused by American Sniper . So much so that Miracle on the Hudson River seems the answer “pacifist” this film:. Instead of a sniper, a commercial airline pilot, distinguished themselves not to kill but to save lives
it is the story of Chesley Sullenberger (Tom Hanks), the pilot of the US Airways that one morning in January 2009 amarou its Airbus with both faulty engines in the Hudson river, with enough dexterity to not lose any of 155 lives, between passengers and crew on board followed. A “hero”, so as all the TVs and newspapers, and through them all New Yorkers with him cross, immediately hail. But what makes the bone of the film, and prevents it from being just a panegyric (one arrives there, but the path is not a march), is precisely the question of doubt, “doubt the hero.” In the investigation of the accident, investigators (although, as is suggested by only obscure motivations related to the interests of insurance companies), hypothesize Sully not have made the best decision and all those lives they saved not because of it but despite it. And much of the film is this: the “hero” to live with doubt about himself, vexed by the possibility of his “heroism” is less a matter of “fact” rather than “legend” means, fraud .
Tom Hanks, whom the aging brought a seriousness and sobriety that does not adivinhariam time of irritating forays Forrest Gump, or in multiple and insipid characters of “man common “which then played incorporates this weight surprisingly well with a minimalist intensity and almost” Twilight “having to do this Sully one of its best attendance ever. The character was missing and the film also failed (which returns to do thinking about what would be American Sniper with a more protagonist, say, “rich” than Bradley Cooper).
But there are also narrative construction issues very interesting: after all, the core of the action, the short flight between LaGuardia and the surface of the Hudson, lasted just over two minutes. And those two minutes, a structure using the repetition of very creatively, are seen and reviewed for various times, in many different points of view: in the “cockpit” in the cabin with passengers, through the eyes of witnesses on the ground, the countless computer simulations generated by the researchers, the best sequence of the film’s point of view “no view” (only radio communications and dots on the radar) air traffic controller.
of course, many aircraft images of passengers rasarem the Manhattan skyline evoke very specific ghosts of particular summer, 2001. it begins there, in fact, a first sequence we see as “restoration” and finally reveals “nightmare” to wake with a start the distressed Sully. Up ahead, a phrase spoken by someone ( “long ago that New York was not so good news, especially with airplanes”) suggests that for the “community” idealism practiced by Clint in this film, the “miracle of the Hudson River” could be a kind of catharsis September 11, and Airbus images virtually intact floating be images able to replace, in the collective memory, the images of that infamous day, as if everything could get back well – so still a question of “belief”.
Miracle on the Hudson River is far from strength, tension, dramatic intensity, the largest and most complex film Clint Eastwood. But it’s easily his best film since Gran Torino .
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