[ad_1]
The films by John Wick are among those "people's movies" loved by the multitudes. In the weeks leading up to the premiere of John Wick: Chapter 3 – Parabellum you could find instant solidarity with the tired workers in the elevator and the ladies of harried supermarkets and the melancholy type that comes repair the dryer, simply by mentioning that you were anxious to see John Wick 3. It was wonderful to see the faces brighten aloud: "Oh yes, John Wick ! I'll be there the first day, I've already bought my tickets. "
The first film was made by unknown, Chad Stahelski and (uncredited) David Leitch, who started as a stunt coordinator and director of the second unit on various, usually modest. , action movies.
"We would be on the fourth or sixth sequel," they told the Honest Movie Trailers worshipers. Even with star Keanu Reeves, whom they knew through their work on The Matrix Movies (Stahelski was Reeves's doubler), John Wick had to be done with a budget greenhouse. The stuntmen who played the henchmen filmed by John Wick in the first film had to jump as soon as they had come out of the camera frame to run again and attack him again, in order to make a group of killers.
who do not understand why so many people love action films that deal only with murder – and John Wick clearly speaks of murder – it may be interesting to consider these films. They provide all the fantasy fantasy that you dream of after working your monotonous work, all week long, or needing a job without owning it, and they find a way to connect the fantastic elements of the "movie building" from film to a common core of shared reality.
This shared reality between you and John Wick is exploited by rotting people in the corrupt system who attack you aggressively when you are simply trying to get by in your life, which is already pretty miserable.
The little you have, they will take away from you.
The famous premise of John Wick 1 is as follows: He is a retired badbadin who has abandoned the murderous life for his beloved wife Helen (Bridget Moynahan). She just died of cancer and arranged to receive a posthumous gift after the burial – an adorable Beagle puppy named Daisy.
Well, gangster's son (Alfie Allen) and his rogue friends enter John Wick's home, mourning and killing John Wick's puppy. They also steal his car, a vintage Mustang, but that's a minor problem. Killing a puppy is an extreme taboo to the point that Stahelski and Leitch claim to have had to justify it before the heads of production companies who wondered if the viewers would support it.
Of course, as terrible as this is to look – and we do not see the actual indescribable act, just the consequences, which is already quite serious – it's an extremely effective premise in an action movie. Then all that John Wick does to those people is justified. He can not kill them brutally enough to adapt to the public. The bridges were cleaned for chaos.
This is an instantly iconic moment of the kind when John Wick goes down to his cellar, takes a hammer and tears the concrete he poured over his gun pool when he made his old way of life as top – like on top – badbadin.
This is the "whimsical fantasy" fantasy angle beloved by all fans of action movies (see Die Hard, Under Siege, Taken, Kung Fu Hustle and many other clbadics of American tradition and Chinese tradition and Hong Kong).
As with many aspects of genre films, you can recognize his appeal by the way he provides a proxy experience of what can not be achieved in real life. The vast majority of us in America feel deeply alone and forced to rely on our own resources when we are wronged, without really expecting justice through a system aligned with us. And while we can not believe we're never close to the guy you should never play with, we can always watch the movies and encourage John Wick.
The directors of John Wick are not shy about providing us with much more sumptuous and fulfilling film elements as we advance through the series. They seem to be working directly for us – us, the people – trying to produce more and more pleasant effects for the crowd, and we appreciate their efforts on our behalf. This seems less strange than usual when the directors of production companies pay tribute to this factor in the success of the film John Wick :
John Drake, co-chair of the Lionsgate film group [on] believe that the franchise was so successful [:] "I really think it's pure love of Keanu and Chad for the public," Drake said. "They make movies for the public and they are determined to amaze and invent things you have never seen before. When you love the audience so much and you deliver them, they appear. "
Needless to say, it means more and more achievements in inventive battle scenes, which is no small task for the history of cinema after generations of the greatest and brightest spirits of the combat choreography gave it all.
But by John Wick 3 book, especially in a series of scenes that I 39, will simply call Library Fight, Weapons Shop Fight, Dog Fu Fight and the unprecedented and brilliant fight Stable Fight with Fu Horse.
But "deliver" means more than the required battle scenes. John Wick 1 to 3 continues to open into larger worlds occupied by international badbadins, who hide in plain sight all around us – for example, the Continental Hotel of New York is where all the badbadins are going to rest, get ready and talk with their murderous comrades. They are not allowed to do real business, that is, no murder on the scene is a rule that causes a lot of trouble for John Wick at the end of John Wick 2.
The hotel is a perfect hotel, dark and luxurious, perfectly managed. It is chaired by an owner scared by the pseudonym Winston Churchill (Ian McShane) and his impeccable concierge Charon (Lance Reddick). Both are impbadive, courteous, impregnated with knowledge of the world and unable to be surprised. They understand everything at a glance. At the hotel and among the murderers around the world, you use your killer's motto, your elaborate gold coins. You silently present one to get practically everything that happens in the world of killers – a room, a meal, a pair of weapons. There is no exact pricing system. "You do not get change ," director Stahelski says contemptuously.
So you can list things that are deeply desired but that most ordinary people have never acquired:
– Vengeance on those who have wronged you.
– Exquisite courtesy in the way people treat you, allowing you to respond in this way.
– An elevated life in which everything is orderly and precise and works wonders. Even the vocabulary is high – for example, murderers who are no longer in good standing are declared "excommunicado".
– A sense of belonging and a deep understanding within a group, so that a look or a nod is enough to convey complex meanings.
– A non-humiliating exchange system, in which you can not be "nickeled and darkened" so as to rank you as inferior to anyone, because it functions more like a membership card – you just have to show and you get the goods and services you need.
In real life, to be treated with much courtesy in America, you must have a lot of money. I had this experience once. Through the intermediary of a crazy real estate chance in the Bay Area, my husband's parents' home, an ordinary house that had been purchased for a plasterer's salary in the early 1960s for 17 $ 000, is sold close to a million dollars. This totally unexpected legacy was shared among a few survivors. Then we took our precious part in the bank. Never again in our lives will we experience a soothing politeness, a concern for our comfort, an eagerness to serve us.
John Wick 3 begins immediately at the place where John Wick 2 was arrested, with John Wick "excommunicated" for killing a person in the premises of the Continental Hotel, simply because the man had to be killed and refused to leave the hotel. The wicked Santino gangster of Antonio (Riccardo Scamarcio) had forced Wick to honor a marker and to badbadinate the sister of D Antonio in order to sit at the "High Table", a kind of body of extremely powerful crime. lords. Then he betrayed Wick and tried to kill him. This wick tangled in a world of further troubles and continued to push back to the infinity the day Wick could retire with his new dog, a pit bull that saved him from a shelter and that he named Dog.
Once he is excommunicated, Wick is at home. the mercy of every aspiring murderer to the world in the world and start his mad rush for sanctuary anywhere. It means using markers himself. The markers, stamped with the bloody imprint of those who gave them, must be honored in the world of the murderers of John Wick, and John Wick 3 presents these as well as d & # 39; other tokens signifying eternal commitments. One of them is a gigantic crucifix given to the director (Anjelica Huston), a firm of the fierce Russian ballet company, who must offer her help in return. She participated in one way or another in the breeding and training of John Wick, and his motto was that it was not a walk in the park: "As we know it, art is a pain and life is suffering ".
John Wick 3 presents a considerable number of times in the world of killers of people who must formally commit themselves to be loyal to chiefs, saying, "I will serve, I will be useful. "
It's a clumsy line, but we get the idea. This commitment is given under an ever greater constraint, since the extremely bad rule of the high table becomes sufficiently abusive to foment the rebellion against it, which will be clearly the subject A in John Wick 4 .
We are all going to watch this film too, because who among us has not had to make a series of nauseating promises under duress? We were trained in forced promises in childhood with "the oath of allegiance", which is followed in adulthood by new outrages called "the second interview" and "the contract of employment ".
John Wick 3 also offers more dogs, which made up much of his publicity. After Daisy's death, we want to be certain that the dogs will live and thrive while participating in the action of all the aftermath of John Wick 1 . Thus, Dog, the pit bull of the part 2 is joined by two Belgian Malinois in the part 3.
[ad_2]Source link
