MOVIE: Six years after that “Trolljegeren” opened international doors for André Øvredal, the Norwegian finally ready with its first own american feature film. The long wait suggests that Øvredal has taken plenty of time to consider their options, and when one sees “The Autopsy of Jane Doe”, you get the feeling that he deliberately failed to build on the “Trolljegeren”s momentum, and rather focused on laying the foundations for a long career as a filmmaker.
the Mystery of the demanding the same.
Category
Thriller
Director
André Øvredal
Actors
Brian Cox, Emile Hirsch, Olwen Kelly m.fl.
Premieredato
13. January 2017
Age limit
15 years
Orginaltittel
” The Autopsy of Jane Doe “
His
On the surface is “Jane Doe” namely “Trolljegerens” rake the contrary: Where the “Trolljegeren” was characterized by open landscapes and frenetic movement, is the “Jane Doe” a claustrophobic and controlled film that almost entirely takes place in a basement. And where “Trolljegeren” used dokumentarfilmestetikk to bestow upon creatures from Norwegian folk religion a tinge of realism, is “Jane Doe” from the first moment, a film that puts his artistry style and design a priority.
There is something appealing the 90-odd over emphasis of the physical scenery and the robust design of the family-run morgue where the pathologist Tommy as time went by (Brian Cox) and his son Austin (Emile Hirsch) dissects which weapons and deduserer dødsårsakter with sober routine. And when the local sheriff one night rolls into the corpse of a beautiful young woman, is transformed in the underground arbeidslokalene slowly to a maze of male anxiety and patriarchal neuroses.
Criticism
The appealing images and Øvredals restrained and unpredictable use of sjangervirkemidler makes the “Jane Doe” into a cinematic universe it is comfortable to stay in, but below the surface the wear film between two opposing ambitions. In the first part of the film outlines the director and the manusforfatterne Ian Goldberg and Richard Naing up an interesting criticism of Hollywood on women, as the later is rooted in deeper community structures.
The mysterious kvinneliket that under the perfect surface are abused and skamfert in the meanest of ways is a good metaphor for the entertainment industry sexism and relentless skjønnhetsidealer. And the fact that this lifeless body (played by Olwen Kelly) – that is slowly picked apart by the film’s male protagonists – is the film’s main kvinnerolle, builds further up under this point.
Landscapes
In the hands of cinematographer Roman Osin is the carcase of a landscape with rivers of blood and plains and ridges of pale human flesh, and the two pathologist dealing are archaeologists who are plowing down through the geological strataene. It is in these parties that the film is at its most successful, and when, in the second half to tip over in a more conventional skrekkfilmterreng, one gets the feeling that one has missed one or other material. This is, in other words, something so rare as an american thriller that with advantage could have been longer.
In spite of these objections is “The Autopsy of Jane Doe” a worth seeing movie – we’re not going to see many horror movies on this level on the Norwegian cinemas in the year and a positive development for the most interesting Norwegian filmmaker today who is working in Hollywood. André Øvredal has made a film that goes against the current, both in american film, and in grøssersjangeren as such, and shows with the fact that he has what it takes to build a career in what he is good at – smart underholdningsfilmer with broad, popular appeal.
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