Rethinking the Western in the realities of the requests of the US viewer.
The plot is quite banal, but rather harmoniously lies in the idea.
The story of revenge ends with a family drama, in principle a worn-out dramatic move that almost succeeded, but the last scene disappointed me. Too banal end, left half open.
Pros: The musical accompaniment, given the concept of the film, the music of the Caribbean basin (and knowing about the banditry in Jamaica) fits seamlessly.
No homosexuals, quite audacious for a director considering the project is from Netflix!
The final shootout.
Personally for me, the film’s comfortable dynamics do not tire of the protracted dialogue and five-minute peepers typical of old westerns. However, events do not develop too quickly and you keep up with them (perhaps there are few events).
The atmosphere, this is probably the main thing, I hope that I felt the atmosphere laid down by the author. The scenery is very different for each city. More theatrical than cinematic. It's a bit of a cowboy thing.
Cons: Too few shootouts for the genre.
The plot is quite straightforward and scant on events, the film from eco seems short and I perceived as a series of some series.
Undisclosed characters: Except for the protagonist and his antagonist, we know nothing about them except that they are gang members, loyal to their leader (or friend) and their qualities. If you do not take the motive of the main character in the first scene, then it feels as written above that you start watching the episode of the series, but what was before you did not watch.
The overall movie is pretty good. I managed to cope with the idea on 8/10, despite the simple plot, I was able to get involved in what was happening and not tire.
P. S.
Most commentators in Eastern Europe don’t like that it’s a conceptually African-American film. However, let’s start with the fact that it is a work of art and it was so seen in the beginning. In general, it should be understood that a cinematic work of art does not have to be historically accurate (the film begins with the inscription that the story is made up), and actors play roles, and no matter what color the actor plays a role (the history of acting is such that there were times when women were not allowed to play, and they were played by men, and blacks were not allowed to play, and they were played by whites). It’s just a character and every single picture actually takes place in a parallel universe where anything can be. And the most important reality is that the film was shot in the United States, primarily for the United States, where African Americans represent a very large population, with their own cultural characteristics. And for an African-American in the United States, it is quite pleasant to see a rather white genre of cinema with an African-American touch, in principle, the producers had the count on them. And what is surprising for Netflix is that there are only 2 strong women who are no less and possibly more dangerous than male characters.
Western is an old genre that is often revived from the ashes like the phoenix and takes place in the Wild West of the last century. Many modern directors, such as Quentin Tarantino, Clint Eastwood, competently fit him into their films.
“The more painful it is to fall” is the brainchild of the British debutant – director James Samuel. This is a pleasant and very high-quality picture, clearly inspired by the craft of Quentin Tarantino.
The film combines an adventure circle, a comedy cycle of modern trends of humor and classical flirtation, filled with light audacity and intelligent enamel.
Splashing with action, consisting of a beautiful staging and independent coolness of the main characters, we can say that the aura of the film has an experimental plaque that gives a high-flying explosion of perception, organically interweaving the rudiment of drama, romantic spark and appropriate pathos, which adds a piquant feel of the action movie, where there is a proper thrash. Carefully combined the main elements make it clear about the slowness of creating a product, twice thought out in detail and at the same time providing an entertaining function for the audience in the spirit of a badi muved, which is reflected in team players among themselves. This makes the concept of this western more interesting, exciting, highly experienced, and the whole message, colorful ideology indicates that the tape has a nested soul of those who had a hand in the project.
Scenario work shines with a special style that well demonstrates the characters, their clear motivation and the constant struggle to take first place in the ranks of winners. From the dialogues literally blows sincere content, a true look, that wonderfully act out all the actors who without doubt understood the essence with all their heart and how to get used to the role.
You can go crazy from camera photography, natural lighting, scenery, which fascinate with good visualization.
The cherry was a musical design from the same James Samuel. The compositions seem to flirt with you and justify every layer of the structure.
A vivid example of the subgenre ' Blackploitation' - the film ' The more painful it is to fall' in which the vast majority of the cast are black, the main characters are black, the director is black, the composer is black, the writers are also ...
The film begins with a bundle, according to which one black cowboy named Rufus Bak (Idris Elba), shot two people, and left their son alive, finally making him a memorable ' present' Years later, grown-up boy Nat Love (Jonathan Majors) begins the path of revenge, seeking to punish those who once hurt him.
In general, the plot is quite banal - the main character begins to take revenge and, of course, by the end of the picture will have to clash with his main enemy. But the truth that will be revealed to him will be shocking to say the least.
You know, I didn't really understand what director James Samuel wanted to show or tell. The film begins approximately as 'Inglourious Bastards', there is a scene at the beginning as in 'Bastards' at the very end (with a forehead and a knife), then continues as ' Kill Bill' (a scene of revenge in the church), after which it turns either into a western, or a musical, or a comedy, or an action movie. There are a lot of different genres. This is all mixed, seasoned with atypical Western music (there is a reference to 'Moulin Rouge!' or 'The Great Gatsby'); The Luhrmann base, for example, where modern songs were used as an entourage for the events of the first half of the twentieth century.
Everything would be nothing and in such a shift of genres could be its own highlight, but all this was implemented against the background of not the most outstanding plot, in which far from the most intelligent characters were involved. I will not go into details, because this can be regarded as a spoiler, but the behavior of some comrades does not lend itself to logical explanation and leads to a known finale. Villains, as always, give good comrades a second chance, offer freedom in exchange for robbing a bank, instead of solving everything once and for all. Well, the good guys, even if they beat off the whole liver and a crimson bruise creeps around the body, can feel quite comfortable and do not even wrinkle with pain during further movements.
The sheriffs in this film get along quite comfortably with robbers and murderers and wage war against other robbers and murderers, if white guys do meet - they are either scum, killing women and children (the scene with the train), or cattle with a beard (the scene with the train), which is contradicted by very polite, polite and well-mannered black cowboys. Here I want to laugh at another portion of BLM, which the creators of this picture dump on the viewer, demonstrating what kind of Robin Hoods are black guys!
They even rob politely! They even let a bullet in the stomach with respect! And of course, with all their inherent politeness, these guys say that everyone owes them (amazing, right?!)
And of course, according to the law of the genre, some characters without aiming can hit the rider with the first shot, and recognized snipers smear from the most advantageous position at the very moment when they have to make ONE fucking shot! And bad guys, of course, it’s all about dying valiantly – when their opponent is cornered, they do not even think to surround him from all sides.
None of the representatives of the cast played convincingly, preferring a strange game of silence in the frame. No emotions (tears from the eyes do not count), but full of static, as if the actors make it clear: look, we can play as statues. Zazie Beetz in this film is remembered only by a stump of hair - she is mostly silent and occupies two-thirds of the frame with her fluffy head.
And of course, the traditional whining from the black brothers. I don’t mind movies where these guys have a lot of difficulties, they have a lot of disapproval and all that, but there’s too much of that in this movie. Usually, there is one such problem in the films (when black people are not treated as much as everyone), but here the director managed to pendur three stories about the difficult childhood of black guys! Three, Karl!!! And each of these stories is tearier than the other, each should punch the viewer into emotions. It looks a little slimy.
Considering the fact that the film has a hint of a musical (the film has a diverse soundtrack, and some characters even sing!), 'The more painful it is to fall' could be successfully shot somewhere in Bollywood and may be James Samuel is just chasing to grab the palm from the Hindus and turn his future projects into wild dances with songs and of course shooting. Well, the expression of feelings through exquisite movements ...
What you can praise the movie, so it's a bright picture: good costumes, bright interior and exterior of houses. But even in this case, everything looks a little dull and unnatural. Like the creators of this movie say: look, in films about white cowboys, the cities are dirty and gray (like their inhabitants), but we have it all the opposite!
The film didn't impress. And rather disappointed in his one-sidedness and, let me call it that, the tug of the blanket on his side.
But look at you. I do not impose my opinion on anyone.
Thorough blackploitation and the very appropriation, which for some reason is allowed to someone, and someone is not. But Boleyn is not good at that.
But there's another way to look. Maybe it's just such a very subtle banter on BLM. A slight irony. When Elba wets a Redwood resident because he's ' the enemy of progress' it's a top. In any case, all the whites in the film look funny and pathetic. You can’t look at all this without a smile. It's like dipping into the Cold War movies of the last century. Everything is so kringe-like. But there is, of course, some childish condescending charm. Idris is still handsome (the rest is not all and not so), and kinzo in general looks tolerable. Not fire, of course, and action could be more than pathetic babbling. Tarantino would have done better. But it will take a while.
Cowboy action movie, no story claims. Except, of course, the very atmosphere of bro and systs, scorching and beating, to the sounds of rega, blues, funk and turnip. The music in the film is really good. But the logic of the heroes’ actions sometimes causes not only bewilderment, but even regret about their mental abilities. But everything happens in life. Yo. Well, the Western, as such, did not work. More like an 80s stylization or even a parody. Maybe that's what they wanted.
The scores in this movie are badly hurt. If there are very few ratings on KinoPoisk and other domestic film portals, and the average score cannot overcome 6, then there are much more reactions abroad, and the score is higher. On Rotten Tomatoes, the film is ' fresh' according to both critics and viewers. Why is that? The main reason is that the domestic viewer loves Westerns and Easterns more according to the canons of the 60s and 70s. ' The more painful it is to fall' is another rethinking of the genre, which was shot by a black director with black actors primarily for the black population of the United States.
The tie: At the age of 11, Nat Love (Jonathan Majors) witnessed the murder of his parents, cultural and religious people. At the whim of the main villain - Rufus Bak (Idris Elba) - the boy was carved out a cross on his forehead and left alive. After 20 years, Nat began to purge members of the old Rufus gang. But the only way to get revenge is to kill the ringleader himself, who escaped justice and commits lawlessness again. For such an adventure, a real team of daredevils is going - Marshall Bass Reeves (Delroy Lindo), Nat himself, his friends and his lover - Mary Fields (Zazie Beetz).
It is quite predictable that the film will be a lot of shooting, a lot of blood, jokes ' for his ' and meditative ' horseback riding ' against the backdrop of the beautiful highlands of New Mexico. But this is what you hardly expected - is the attraction of the creators to the genre of the musical! Heroes can sing along with music in the background, remember lines from songs. The first appearance of one character occurs on stage during a musical number, in another musical scene of the viewer & #39; leads & #39; a dancer with an unusual makeup and costume, more suitable for a musical. I am not a fan of ' black music' - rap and soul, but the musical accompaniment I really liked here - it is here in the subject.
Another interesting aspect is the city of the Wild West. The buildings are not dirty and tattered, as in a typical Western, but very bright, even cozy. It’s like a scenery for the same musical! In another Western, such houses would look foreign, but here they are quite appropriate. It should be noted that each town has its own zest and style, so they are not exactly confused. I especially laughed at Whitetown -' White City' which, surprise like that, is entirely made up of white-painted houses!
Let us now turn to the historical aspect. She's not here! But the film from the first scenes screams about its unrealistic (super bullets, from which a person is thrown into the air already something is said). There is no use of dates, so the year when the main action takes place is difficult to name even approximately. Most of the characters bear the names of real black historical figures of 19th century America. But these are rather references, for many biographical facts do not coincide. Nat Love and Mary ' Stagecoach' Field is roughly the same age, although their prototypes have a 22-year age difference. It should be noted that these historical characters in America have become household names, like our Pavlik Morozov (although his story is quite tragic, most people know him from anecdotes).
The actors play quite well, although sometimes a cute replay catches the eye. But Idris Elba is sometimes too serious. Heroes are ambiguous - there are no purely positive and negative characters. In this case, we clearly show the difference ' our ' and ' not our ' If Rufus calmly risks his own, then Nat will try to shield his friends from danger, he will climb on his own. Rufus ignores the sympathy of the one who risks for him, and Nat wants to propose to his beloved. I noticed that Nat’s friends, unlike Rufus’s gang, didn’t kill any whites in the entire film – in the shootout scene in ' White City' they even targeted just above the local shooters – just to scare off. Nat in general turned out to be a very charming bandit who follows the principle: ': Robbing a bank is easy, but robbing a bank without killing. . . '
We ended up with a pretty good modern western. Unrealistic, sometimes absurd, not very smart - but quite funny and beautiful. And although the film was made in black for black, I ' The more painful it is to fall ' I quite liked it.
Honestly, the plot is difficult to perceive, since the narrative of the whole story occurs either from the perspective of the main character, or from the faces of the gang members. In general, in front of a little boy, Nat, parents are killed, a cross is cut out on his forehead, and 20 years later he proudly takes off his hat, baring his scar, and goes to revenge.
A lot of extra musical accompaniment, it seems that here it goes in the background to any situation. Killing a man? Music. Robbing a bank? More music. Nothing going on? That's exactly where you need a soundtrack. There was so much music that in every scene there was the thought, “Here, cowboys are going to sing.” And, besides joking, they sing.
The strange "new" western is pleasing with reggae songs, but how disappointing it is when you don't notice someone like Bob Marley with two gold revolvers.
Everything new is the well forgotten old. Fast zooms, as in old fighters, shaking the camera, lubricating the picture when hit, shots in the sight of a painted rifle. It all looks rather comical.
Movies with makeup.
For the sake of one beautifully shot shootout, it's not worth watching the whole movie at the end, I think. The fight between Trudy and Mary after a fresh breath of air in the form of a good massacre is a waste of time.
For such an ending, the film must be more dynamic, and the characters must be presented in a clear way from the start. Half of the film solves who in which gang, and who robbed whom.
5 out of 10