Piano Notes For Sweet Dreams

BEYOND (2011) Clint Eastwood, Luc B.

Clint Eastwood was not expected on such a subject. And he, that he waited?

director Frankie leads McLaren

is the story of Mary Lelay , journalist policy of France 2, who sees his life and career shattered by the Asian tsunami of 2004. She survives, not without having had a glimpse of the beyond (the white light down the hall, second door on the left). Then, in London, the young Marcus , inconsolable after the death of his twin brother, his runaway foster families and strives to make contact with him, by media inserted. And finally, George Lonegan, American medium success, trying to forget this gift, which for him is a curse and became stevedore in the port of San Francisco (as Eastwood himself Similarly, and his father before him).

course, these three stories are linked, but their treatment at the screen is not homogeneous. One that holds our attention is that of George Lonegan, in other words, the U.S. side of the film. Primarily because Matt Damon puts his talent to his character. And because the humanistic and benevolent eye of Eastwood makes us the most endearing character. Lonegan could earn big money through his gifts (which would suit well his brother) but his life is unbearable, constantly filled with mink deaths, injuries others, fear, emotional deprivation, when it hits the hands of others. He lives in a small two-room, threatened by a redundancy plan, and took refuge in reading Dickens and in the course of Italian cuisine. And there, Eastwood managed a magical scene. In these courses, George meets Melanie, whom he must try to blind products. It is at once funny, tender, deliciously erotic, dramatic but also when touched the hand of Melanie, visions arise. What kind of relationship these two be able to build when one knows all of the other?

What does Mary Lelay, traumatized by the tsunami back in Paris? She plunges into the broth!

Mary's story is more uplifting Lelay . Cecile de France is not in question (why have it decked out with a headdress made of Yorkshire disheveled??) But their profile is not really the road. It seems more out of a local branch of France 3 Rosporden, and sentimental story with the director feels warm. In short, it is not very interesting. But we owe it all to a lecture on the editorial policy of François Mitterrand route, enjoy a good third film in French (did you recognized Marthe Keller?) And for once without Paris junk. And on the London party, one might object Eastwood in fact probably too much with the young Marcus, wearing a junkie mom (did he really need that and more?). I remember a beautiful portrait of boy in A PERFECT WORLD (1993), but there Eastwood proles in English seems less at ease than Ken Loach. There are still beautiful scenery (the underground visits mediums charlatans).

Course Forrest!

In BEYOND , which seems stuck, it's more the script, because frankly, the work of staging, there is not much to say. Eastwood knows his job, always the right plan, the master of rhythm, and the sign of greatness: do not miss two or three key scene from the film. Starting with the first, that the tsunami. Eastwood gives a lesson point of view. It follows Mary is the purpose of the scene. She is the heroine, not the big wave that destroys everything, and that could have been filmed in 15 different angles, above, from below, with many a nameless victims, lost dogs, screaming babies as in disaster movies . No bidding for 2012, like Mount Everest under the waves! No, this scene is very impressive because it is short, and just. The conclusion of the film is fast, does not get bogged down in sentimental effects. And then there's this little part thriller, with these characters who investigate, seek, or running past nod to a past career as a director of thriller, western.

Bryce Dallas Howard (Melanie) and Matt Damon

The film follows frankly with pleasure, but out of the room, we said to tell us what? To come where? It's not too gnan-gnan, this is not the New Age psycho with two bullets, no religious proselytizing (the idea of the beyond Judeo-Christian is quickly evacuated to a setback hand), not esoteric fair, the charlatans of all stripes have their beaks nailed three scenes! The gift of George Lonegan is itself explained in a very rationalist is more of a chewing gum that sticks to the sole of which he would like to get rid to live normally. No preaching, no thesis smoker. So what? There is a track start in an exchange between Mary Lelay and her publisher, who accuses him the subject of his book: "the underworld? but write it in English, do the editing in the USA! We do not want the real investigation! To which she replied: "I speak of inquiry, experimentation scientific Nobel prizes than the religious lobbies want to silence! . Eastwood is angry with the robes, we know. But it all? So what about the big secret? Where the director wanted it coming from, if not raise the dead, one of those recurring themes in recent years, even under a different angle?

BEYOND is obviously not the best Eastwood, but that does not make a bad movie either. Anyway, one way Eastwood is always better than the best Ron Howard, Robert Zemeckis and Joel Schumacher ... (And wham! It fell on them, we could cite more than 10 times!). It is a pure melodrama, the kind so dear director, always sensitive and specific in the intimate scenes. We missed a great metaphysical melodrama investigation atheist (a new genre).