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Peter Farrelly's career is essentially composed of slave comedies like Débi & Loide: two idiots in trouble and Who will stay with Mary or a drama like in Game and Before Only Than Badly Married in a set that can be considered competent, especially if one examines his early career works. Green Guide: The Guide thus seems not only to be the ball completely out of the curve of his filmography, but a curious and, I would say, dangerous choice of the director.
After all, despite the film evoking the unlikely friendship between the ignorant Italian-American beast Tony Lip (Viggo Mortensen) and the eccentric African-American and scholar Don Shirley (Mahershala Ali), Virtuoso of clbadical music, the theme of history is racism and, moreover, in the 1960s, when Shirley engaged Lip to direct him through the US appeal of the Great South that is to say the epicenter of racial segregation in the country, for his tour musical. The delicacy of the theme of one side and Farrelly's career on the other were not the most obvious combination of the world, but the result is a film that boldly uses humor as a vehicle, ends up getting noticed in his post
clbadified as " Leading Miss Daisy with Inverted Papers" – and he never ceases to be – Green Book: The Guide is based on an unprecedented real story that brought these two very different Americans together at the end of 1962 and, with the comedic tone, Farrelly denounces the tragedy of racism and brings to the viewer some generally mild sluts since the Humor comes a lot more from the real nonsense of various situations than joking relief. The structure of the road movie is standard, as is that of the movie Buddy with the predictable 100% path as a way for Tony Lip and Don Shirley to draw lessons, find out what's going on. they have in common and closer and closer, thus demonstrating that the ethnic abyss can be illuminated and traversed, which also constitutes a universal message.
The film is, more than one might imagine, more focused on Tony Lip than on Don Shirley, the first winner of a lengthy prologue in which we study his way of life based on jobs that come and go, a clbadic Italian family very close with his wife Dolores (Linda Cardellini) featuring prominent footage and a single demonstration of racism that seems to prefigure something much more serious, to the point of being strange when Lip naturally agrees that his job interview as a driver is at the service of a ghostwriter. The script, co-written by Farrelly, Brian Hayes Currie and Nick Vallelonga, son of Tony Lip in real life, is a sin on the spot because it creates a situation that seems irreconcilable and that, in the next moment, adopts a very different posture.
In addition, the treatment of the two protagonists is archetypal, somewhat cliché. Although Mortensen is spectacular like the Italo-American mondragon and totally in weight (to make the championship of who eats more hot dogs – with sauce! – is for no skinny), a kind of antithesis of his Nikolai in Lords of Crime and Ali build a surrealist artist, but charming, each viewer has already seen these characters in a myriad of different situations. This is not a demerit in itself for the film, but I must admit that it is a distraction element for the film, which might not have been done, just enough. , perhaps a more economical montage of Patrick J. Don Vito, relatively novice.
Although Dr. Don Shirley's musical pieces have an important place in the band, with a good work to convince us that Ali really makes the piano vibrate, the soundtrack of Kris Bowers leaves a lot to be desired, with surgically projected melodic constructs – and synchronized by Farrelly – to direct the viewer towards the type of reaction that he must have on this or that scene. This is the famous piece that telegraphs feelings, automatically reducing the impact of many sequences that compensate for themselves only by the presence of Mortensen and Ali in front.
Much to my surprise, Peter Farrelly demonstrates absolute competence in dealing with such a thorny problem and delivering a drama. of comic tones (or would it be the opposite?) that attacks seriously, but with humor, racism and, in the absurdity of real situations, opens the eyes as opens those of the main pair. A film that softens and makes us smile and laugh, as well as suffer, with the dramatic symbiosis of Mortensen and Ali.
Green Paper: The Guide (Green Paper, United States – 2018)
] Peter Farrelly
Scenario: Nick Vallelonga, Brian Hayes Currie and Peter Farrelly
Interpretation: Viggo Mortensen, Mahershala Ali, Linda Cardellini, Dimeter Marinov, Mike Hatton, Iqbal Theba, Sebastian Maniscalco, PJ Byrne, Montrel Miller, Tom Virtue, Dennis W. Hall, Maggie Nixon, Randal Gonzalez, Brian Distance
130 min
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