A long time ago, when I didn’t have the internet, my source of cinema information was from just one person who was selling CDs on the market, I thought Dead Man and Brave were the same movie Johnny Depp was in. I learned later that these films were made by completely different people. And I was very surprised that the film “Braveman” was directed by actor Johnny Depp, and about the nomination for the “Golden Palm” I learned only a couple of days ago.
When I saw the movie, I was kind of confused because Depp had a very strange film. Even Jarmusch’s film Dead Man was much simpler in its content than this masterpiece. By the way, this film can easily be called the reverse side of “Dead Man”. In this film, Depp plays an Indian who lives in a dumpster with his children and wife. The whole movie will be very strange. This movie is probably the slowest movie I’ve ever seen.
Later, Depp's character will find some strange producer in a dark basement. This producer will play the legendary actor Marlon Brando. This film was almost the last masterpiece in Brando’s career. He had previously starred with Johnny Depp in Don Juan de Marco. Apparently, Depp was delighted with Brando and therefore invited him to his directorial debut. Brando played great, although he will rarely be shown.
Brando’s hero will offer Depp a huge amount of money so that his family can leave the garbage. To do this, the hero Depp just need to play in his film, where he will be shot with real bullets. He gives him a few days to think about this overly tempting offer. And this is only the beginning of the film, and all the rest of the time the hero Depp will think about his decision, if anyone forgot, I remind you that this film is a full two hours.
Apart from the Jarmusch movie, I don’t know of any other films that were even slightly like Depp’s. What did Depp want to say with this movie? I didn’t understand it until the end, but he is very careful and reverent about children, which means that this film has meaning. Always love your children and your family. Make sure that they always feel good, because there is no one in this world but family. If in “Dead” the hero Depp is without a family, then in this film he is constantly messing with children. Apparently, Johnny Depp grew up in real life and even now in many interviews he says that he lives only for the sake of children. He gave up drugs because of his family. Sometimes movies take a look at the actors. Depp is a brave man.
On a separate desert stretch, among trailers and homemade huts lives a family. Father, wife, and their children. On the outskirts there is the same dirty church, near it is poured, drug addicts scurry around, and the sun obligingly burns out the district. Fortunately, among all the substitutes for happiness, there is alcohol and hopelessness.
The world of the Indian father is a cesspool. In fact, it became so nasty that ordinary people could go crazy and survive. Logically, this life is reminiscent of any remote urban-type settlement, where there is a rabble and reluctance to develop. On the other hand, there are interesting characters and golden places. Positive Depp exists like an accidental victim, life knocked the ground out from under his feet, leaving the audacity and desire to be good to his loved ones. And around the saliva horde of neighbors, friends, and other subjects is not the first freshness.
In such a ditch, one can only hope for a miracle. And it comes. Like Mephistopheles in a dusty office, a bored Marlon impassively offers the Indian the deal of the century. Philosophers about the hopelessness of life, and the conceptual perception of pain. The Indian weighs his life, leaving family happiness on the back of the coin, and makes a deal with the Devil.
This is not a question of heroism but of life value. Depp is static, there is an initiating event. In this case, it's when he slipped into the irrational and saw Marlon. After that, the brain of a brave Indian occupies only one thought - a gift to loved ones. He wants to give his family what they thought was impossible. A normal life. You can see it as silly, but no, in relation to a society inhabited by an Indian family, the material gifts of happiness are a panacea for moral pain. And the psychology of the citizen of the lower classes is revealed in very detail, he despaired of being ready to live on credit, just to feel acceptable to his family. Through a dedication to elusive time that whispers in Brando's voice amid a cold warehouse.. An interesting parable about the everyday desire to be a good father and show the rest of the world an enclave where black preachers, Indians, and the rabble of life have fun and drink, while individuals groan at the realization that this life will never end, and if so, through death.
Johnny Depp: freak or genius of drama? What do you choose: “Brave” or “Brave”?
As a child, I imagined Johnny Depp as an actor exceptionally positive and cheerful, first of all remembering the hero Jack Sparrow, the most charming adventurer in the history of adventure (this is how the Greek “peyrates”), and what would our lives be if we did not see how this comical but brave captain came off the deck of his ship?
But then I started to recognize him from the other side...I saw him as a ruthless killer in Tim Burton’s grim musical Sweeney Todd, or as a gangster in Cocaine, or as a special agent in Donnie Brasco. I think most critics, regardless of the success of the films, admit that Johnny Depp played a great part in them. But now I want to talk about two films that raise the issue of drama in the most acute of the known ways, touching on the topic of life and death.
Strangely enough, I watched the movie “Breaking Bad” first, and I liked it, really! He cynically shows how pale in the face of death all the rules that a person has held on to in life, and only a little matters.
The film “Braveman” was released 22 years before, in 1997, it also raises the question of life and death, but if in “All the Graves” the main character despises everything he previously followed and releases the brakes, trying to squeeze everything out of life, through all sorts of pleasures; then he on the contrary tastes all the joy of life, breathes life with all tenderness and affection. The one where Raphael washes his hands in the river and takes the silt in them (I won’t dwell on this – you will see if you look), at that moment he already knows that he will have to die, the moisture on his hands and the silt in them you feel as if they give in to the sensation in his body, which still belongs to him.
The premise in these films is the same: the main character knows that he will die, but the difference is huge! If the hero of "Breaking Bad" was guided by selfish aspirations, "Brave" voluntarily descends into the gates of death, for the sake of the dearest thing he has in life, and the harder it is for him to leave this life.
"It's hard to judge life, it would be an insult," but while we're still limited in time, I'm going to play this movie and the brilliant Johnny Depp, whether he's a comic hero or a hero set to the very edge, 10 out of 10.
I sold my body like a whore, and the church forgives whores every day. Or the American version of the dashing '90s.
It’s not easy to find the words to tell your thoughts about this incredible film. It is fair to start with my attitude towards the author. Because those who are not familiar with the rest of his work, to see this film is just early. There are many opinions about Johnny Depp as an actor and person. In my case, he’s probably the only actor I’m willing to fight to the last drop of blood for. That is, I treat his work with trepidation and always try to comprehend the essence of the idea. And I would argue that this film is really worth seeing, not just as a directorial debut, but as a film as a whole. It can be included in the conditional 10 of the best works of Johnny.
The story is heartbreaking, tragic, difficult and ... idiotic. This crazy wrong story is good because its absurdity and savagery makes you think hard and causes a storm of emotions. The film is a real provocation! It's one of the most problematic and profound films I've seen, and it's made simple and straightforward. And honestly, a rare movie got me so hooked. A powerful social drama, revealing the problems of American society as a whole, and the individual family, so similar to many other real ones in particular. This is a story about the extremes to which unemployment can lead, about the chances of settling down with people with a troubled past (in the sense of no chance). And about a family where there is no trust and understanding, if there was, all this would not have happened. About a family where its head was only a burden, and not a protector and breadwinner, and hastily tries to correct it, not knowing how.
The film is not glossy at all, but especially beautiful and touching. It is not a Hollywood movie and its author was only a formal Hollywood actor. The film is not for everyone, lovers of entertaining popcorn movies please do not disturb! This is a real art house of the highest level. At first I was alerted by the words in the description: the film was not a commercial success. But it is important to understand that the commercial success and quality + the interest of the film do not depend on each other, it only means that the film is not for everyone, but once you have learned about it, then perhaps just for you.
On the first look, the impression was pretty mediocre. Skepticism won a total victory. It catches the eye that the shooting is raw. “Are you really Edward Wood? No, not that bad, but, alas, not Fellini. And for the most part, I didn't like the plot: 'What was going on in your head that you decided to film such a black woman?' (You shouldn’t have liked the story, right?) Most importantly, the character didn’t seem convincing. “Well, you did it for some reason, but why else did you shoot yourself?” You are too fresh and beautiful for a burned-out criminal and an alcoholic, like Stanislavsky I do not believe you. (I found out later that Johnny wasn’t going to play himself, but the top brass said you wouldn’t play yourself, we wouldn’t give money for the movie.) I’m telling you that there are shortcomings, and the first time the film may not like.
And then the movie didn't get out of my mind for a week. "Damn the movie, how I got hooked!" Can that hook a bad movie? Maybe it's a good movie. Since then, I have been haunted by the idea that the film needs to go back and rethink it. Which took some inspiration, which took almost a year.
Second view. And that's love at second sight. In style, it's similar to early Kusturica, long before "The Arizona Dream." Hence some "strange" scenes, just for Kusturica characteristic. Jarmusch is less here, but the finale is really like Dead Man, and everything else is more like Ghost Dog. And at the same time, this film is endowed with its own special individuality, it is not a tracing from the works of more experienced comrades.
The hero is revealed only from the good side, some background would be needed to show the viewer his drunkenness and crimes. And so the halo with wings weep over it, and it is not clear why other paths are closed for it. Three words about his past are not convincing.
Raphael's very act is more outrageous than admirable, in truth. “They want you, not stupid money! And this money will not hold in their hands without your protection, and there is absolutely no one to trust you in this. But our hero does not think so, he does not feel necessary for the family. Alternatively, he has a real depression with consequent drinking and lack of desire to act, and he is not able to adequately assess the value of his life. He understands what is needed, he is loved and he wants to live only when nothing can be changed. But he doesn’t try to make sure the family doesn’t get hurt.
Acting. The director himself, of course, no one else. Here it is delightful, just fascinating and causes a flurry of emotions. Although he is not convincing as a character at his worst, he is beautiful at his best. It's good that Johnny played Rafael himself! His participation in the film is always an event, this is a separate category of films that are most entrenched in the soul. His ability to convey the suffering of a character is striking. And you can just admire it from an aesthetic point of view, in few films there is this opportunity.
The finale is expected, but at the same time open. We know how it all ends, but we don’t see it. Maybe it ended differently. You know that scene from Fight Club where Tyler lets a guy go instead of killing him, with the guy learning to be a vet instead of dragging on a pointless destructive existence, otherwise Tyler will track him down and kill him? Perhaps our hero will just kick his ass and let go, and the next day will seem to him the best day of his life? Will he be able to start a new and worthy life? In my opinion, such a denouement could be appropriate (it depends on how wise, meaningful and spectacular would be the scene of “bashing”). But that's not the story. Our director preferred a tragic and unsaid, but also strong and beautiful ending. And he was right. His task was to demonstrate absolute hopelessness without any light at the end of the tunnel.
It’s a shame that this is the only film by Depp! After that, there were a lot of great acting jobs that left no time for anything else. But in recent years with acting some crisis, maybe it's time to get back on the other side of the camera? And, Johnny, the name Raphael is now associated with your hero, not with the author of the Sistine Chapel.
The movie will definitely piss you off in a good way. And at the same time, you'll like it.
- The Lord is my employer. (c)
Each star, having achieved success in one field, tries to prove himself in another. It has been repeatedly noticed that famous film actors sooner or later try their hand on the other side of the camera. Not all artists are directors, but nevertheless, popular actors continue to make movies from time to time. There are enough examples when not only those endowed with dramatic talent, but also purely genre artists retrained as directors. At the same time, with varying success - someone managed to remove something more - less fitting, and someone did not. At different times, even the stars of militants sat in the director's chair! For example, at the peak of his Hollywood popularity, the production of paintings were engaged in such people as Jean-Claude Van Damme and Steven Seagal. Sylvester Stallone often stood behind the camera. Class A actors include Clint Eastwood, Robert Redford, Mel Gibson and Sean Penn. Who are now listed as directors. In the mid-90s, when world fame was already achieved, his forces in directing decided to try and tin - the idol of Johnny Depp. Who by that time was already trying to throw off the label of “star boy”, wanted to prove that he was above all a high-class dramatic actor. No wonder he starred in the luminaries of independent cinema - Jim Jarmusch and Emir Kusturica!
The style of the latter, he tried to reproduce in the work on his debut picture. More precisely, how to combine the “groundiness” of Kusturica’s narrative with a parable reading of Jarmusch. Not always he was able to correctly tie it on the screen, which is why many episodes noticeably “sank”, or could not line up in a single video series of a strange plot. In any case, when viewing “Brave” one gets the impression that the picture lasts much longer than its 1.5-hour timekeeping. In other words, sometimes it became boring, and the viewer should not be bored when watching the film. This may be my personal problem as I missed Jarmusch. And over the indisputable rule: “the audience in the cinema should not be bored”, hardly cared Visconti and Tarkovsky.
As the literary basis for the debut film, Depp chose the story of the little-known writer Paul McCadenne. The script was written by Johnny Depp himself. Because not being familiar with the source, I can not say how much Depp adapted the writer’s prose to his vision of this story. The plot is somewhat absurd in its content, but if you take the whole picture as a parable, then you can not dwell on it. Then Johnny Depp’s film will be an ordinary sad story about the unfortunate hero, whose task is to call on the audience to take care of their families, about the need for parents to just talk to their children, and once again the husband tells his wife how much he loves her, and if possible ask for forgiveness. Even the script story can be interpreted as an ordinary social-household, almost devoid of black (if you close your eyes to a couple of emerging corpses closer to its climax) melodrama. Judge for yourself: the action takes place in a makeshift, illegal settlement located right on the outskirts of a city dump. There live beggars, beggars and drunkards, mainly Latinos or Mexicans. The male part of the population, of course, trades in robbery or other dark deeds, because the police in these slums and do not stick. But in addition to these scum of society - drunkards, whores and drug addicts, ordinary women and children live in the dump - from families who are not lucky enough to be on the social day of this life.
In one of such, as it is customary to say – “disadvantaged” families, lives the hero of Johnny Depp. Moreover, he is its head, in his care sits his wife and two children. Although, it would be more correct to say that the head in the family is not he - but his wife Rita, who is not arranged by everyday life (Alpidia Carrilo, who is memorable for the role of partisan Anna from the Predator). Because he lives according to the tradition of a gentleman of luck - stole, drank - in prison. The truth is not what romance Raphael himself (that is the name of his hero) does not see in this. And he steals to provide all the necessary family. But the thief is small and unlucky - he already has more than three jails. His wife now and then “saws” him, asks him to take up his mind, find a normal one, even if not high paid, but an honest job in order to get back on his feet. The same thing is wanted by relatives, one of whom is a gray-haired Indian father. The hero himself would be happy to find a job, so he comes to one place, where he was sent by an acquaintance from a city bar. But, as it turned out, the “work” will not be quite ordinary. The truth is one-time and highly paid. A gentleman who met him in a secure and video-surveillance basement offered to sell his life for $50,000. Not life, but death. This is necessary for some recording or can be an amateur picture, in which another person must go into the world in terrible agony. A representative look, an elderly man moving on a wheelchair, without unnecessary talk gave Raphael a large deposit, taking his word from him after a certain time will appear in the same place, for the same shooting. Saying that he knows that he will not escape, and will keep his promise. So the hero received a lot of money lost his life, but he ensured a stable future for his wife and young children.
Let it not be too deliberate, the murder of the hero in front of the camera will not show us. Perhaps because of the fashionable in such cases, the rule is to leave the final open. Who knows, maybe Marlon Brando’s old-age uncle in a wheelchair just tested Johnny Depp’s hero for courage? Although his henchman - infernal man Larry - played by Marshall Bell, certainly not one who jokes. The proof of this is not only his idiotic humor, but also the corpse of an old friend lying in his van. Cinema is clearly designed for lovers of “arthouse”, because the “mainstream” that made Depp famous does not fit in any way. Perhaps that is why the film premiered at the Cannes Film Festival, where it was even nominated for the main prize – the Golden Palm Branch. True, an authoritative jury, led by Isabel Ajani, preferred to award not the strange, parable directorial debut of young Johnny Depp, but to divide the “branch” between the Iranian Abbas Kiarostami with his “Taste of Cherry” and the Japanese Shohei Imamura, who came with the film “Eel”.
P.S.
This review is dedicated to a big fan of Johnny Depp’s work – the girl Nastya.
The beauty and wisdom of the pagan world and consciousness.
In my opinion, this is one of the most beautiful films, a kind of fascinating song to the pagan worldview, attitude, worldview. I'm very lucky. I saw this movie for the first time without knowing anything about it. Just night. Just an inserted disc from the sale. Just the beginning... and the falling depth of consciousness. A flight into the abyss of a completely different relationship. . .
There are keys to this film - D. Fraser ' Golden Bough', M. Eliade, Froyanov, finally. And the fullness of pagan consciousness. Here it is saturated with everything, from the first to the last frame. I don’t know if Depp had this in mind, or if it happened at the level of intuition of creativity. In any case, the metamorphosis of the hero’s consciousness from dirt to the chosen of the gods, who can teach how to die someone who is mortally afraid of pain and death, clearly becomes the guiding thread of the film. This is a story about the purification of consciousness, about the right of one who is on the threshold of worlds. Here we recall the voluntary ritual sacrifice, the earthly chosen one, in which the pagan god settled for a time and therefore he has the right ... to the court, to the love of the chosen woman, to gifts to everyone around him, to murder, to have the priest follow him. He is purified by pain and death, he realizes and accepts it as a warrior, as a chosen one, as one who has only one thing left in this filthy and corrupt world - the art of dying and showing a trembling coward with money how to do it. . .
Pagan symbolism is so strong and so clearly read that repeated viewing only opens up new layers and horizons, deeper and deeper. Immersion in water is a pagan symbol of death - a naked washed body - a beautiful reborn chosen one of the gods, who washed away everything temporary, alluring, coming, unnecessary. The chosen one who goes to die and the world that collapses behind his back. A priest, against his will, following the pagan incarnation of God.
An eerie, fascinating consciousness. Wisdom is different, beauty is different, alien to the consciousness of modernity.
This picture is simply striking in its depth. So natural and heartfelt here are shown the last days and even the moral death of the main character, filigree performed by Johnny Depp. He was also the director of the film. I sincerely regret that at the moment this is his only feature-length art work in this role, because I really liked his directing style and the way he built the atmosphere in the film. I would describe it in the key - the maximum, painfully realism, describing the highest spiritual path of withering, through the prism of the Indian soul.
But Depp is not a single, very interesting characters embroidered with Marlon Brando and Marshall Bell. Brando played a little creepy and most mysterious customer, who appears in the picture in a few scenes, but every appearance causes awe. I may sound too loud, but he's a local Hannibal Lecter. Bell, on the contrary, is an understandable, but no less colorful bandit than what reminds me of secondary characters from the films of Quentin Tarantino.
The film itself seems to me a mixture of Dead Man Jim Jarmusch and, oddly enough, 25 hours Spika Lee.
Unfortunately, the film has drawbacks - it is a little drawn out, and somehow - there are no unnecessary scenes, but almost every scene lasts a third longer than necessary. Also, almost until the end, it will seem that some story arcs are superfluous, and Depp himself is a little underplayed, but this will be corrected over the course of the picture.
9 out of 10
It seemed to me that in a split second before watching the film, everything seemed to agree: I very clearly remembered the time, it was 0:39 on the computer, for the first time after a hard day I felt free, I did not need to go anywhere tomorrow, it was warm and comfortable, I pressed play.
It was the first time I really saw Johnny Depp. The one about whom the Times and thousands of other newspapers write, the one who earns millions of dollars a month, but remains the most beloved father to his children, the one who will always make me smile, it was in the movie Brave that I saw “our” Johnny.
This film cannot be disrespected. We always say, “I would do anything for my family.” Really? Even die? Try it. That's how simple the plot is. But genius. This film contained so much love that after watching I want to go hug my mother, sincerely, I want to say thank you for the fact that you do not have such a choice as in the film, I want to be brave.
I was looking for a movie with Johnny Depp, which will be enough of everything, in which everything will be in moderation, which means perfect. I found it. There were few words, but a lot of actions, it's inspiring. A great actor and, as it turned out, a director, a difficult task to play in a way that people believe, for me completed, I believe. And only now I realize: everything we do is "it's only between you and God."
It was a good night, I know. That's my assessment.
Morgantown is a dump town. Humans reproduce. No place under the sun. Those who do not have enough space will have to live and be content with the leftovers of the haves. They want to demolish the town, taking away the last from the chewers. Rafael wants a job and a better life for his family. But the prison past of the Indian does not care only immoral producer (brilliant Marlon Brando), who loves when dark, but most importantly realistic. He needs a body ready to give up on camera and become an actor of one role. Rafael agrees. Before the execution of the contract - seven days.
How brave is the sister of stupidity in this picture? There's no demand for your hands in town, but there's a demand for your body. For saving three lives, they ask for one. Fair exchange, no options. I lacked the motivation of the main character. I realized he was a brave heart and willing to sacrifice himself for his family, but I didn’t see it on his face. He puts up with his fate quite easily. Or maybe it's easier to live when you don't have to guess how long you still have to roam the world? Was it so bad that he didn’t even try to find other options? Did he not believe that he could benefit his family more? He was brave, but he had to give the impression of a surrendered man who had lost faith in his abilities. How bad does it have to be for death to be the only way out? That's my guess. The film did not fully reveal the character going to death. I only saw a man who gave up on everything.
There are few critics, but most of them have lost. A man has a good idea. An Indian sells his life to buy his family prosperity. Already from this proposal, a thought process is launched in the head, threatening to turn into tearing. The director is asked to reveal the idea 100% in the first film. So to speak, he called himself a cargo-dem. I want everything in my head to be on the screen. Should critics give concessions to newcomers? Not according to reviews.
Crying is not a hunt, there are no experiences on the verge of catharsis. No press mercy. But man, in our country, people with a higher education in directing don't shoot like that, and Depp, sorry, didn't graduate from high school. Visual row? Depp's doing it! The city-dumper rises in memory and it can no longer be demolished. City dwellers? Depp's doing it again! Reliably displayed people not familiar with the benefits of civilization. Drama? Catharsis? Why be a snob! The first film, and for the debut is very decent. Depp did not desecrate the script and highlighted an important issue. And he was trashed. Is it the fault of a person who, without experience, undertakes such a delicate scenario and expects to leave a good store of potential unused? Should he start with less ambitious ideas to match his abilities? You can understand the audience waiting to justify expectations, you can understand the director who wants to attract to the debut, a fresh idea. I had a dilemma. There is no disappointment, but the thought that could have been better.
It's boring to watch at first. But closer to the finale, you begin to avidly breathe in the last days of Raphael's life.
I watched this film for Depp, as I suspect everyone else. At first, I thought he was a bad director. At the end of the film, I had a slight sense of disappointment. It seems that there is a problem, and the character is not bad, but somehow not a masterpiece.
But the amazing thing is, days and months went by, and I couldn't forget this movie. I'm walking through a village near Moscow, and before my eyes is an Indian wandering to the river with a bunch of canisters. I'm walking down the street and my thoughts are on the holiday Rafael threw for family and neighbors. And everything is remembered and remembered characters, frames.
And then I realized that early Depp abandoned the director. Whose first film was a masterpiece? No one. Finding your voice, your tone, your style is not easy. And Depp, as I now think, could grow into a very interesting director, and maybe even grow up.
8 out of 10
Surprisingly, the fact is that most mainstream fans of Johnny Depp have never heard of the actor’s only attempt to go beyond the artist and move into a cozy chair with the inscription “director” on the back. And at the same time, grab the screenwriter, so that there is where to put your feet after a tiring shooting day. And these are not the dreams of a fanatical moviegoer, but a real-life film "Brave".
“Heart” for the picture was the novel of the same name by American writer Gregory Macdonald. Unlike the vast majority of “Made in Hollywood” products, the film appears to be a moderately accurate film adaptation, which took over the main thing from the original source – the leitmotif of death. The main character, Raphael (Johnny Depp), knows a secret, the mere thought of which can frighten any sane person - he knows the day of his death. And it's not about mystical rituals or fatal illness, no. Raphael is a man who is enough to be labeled “without a future.” When he was a young man, he was in prison, and now he has a wife and two children who have to live in the settlement-dump Morgantown, which is not even on the map. As expected, the future in such families is not carefree, at best – difficult. And the desire to change this order prompted Rafael to take extreme measures - to become a member of the snuff video, that is, the victim of murder on camera. He now has $15,000 in advance and seven days before filming begins.
An identical book allows you to trace and feel what it is like to know the hour of your death. However, the methods leading to the inevitable culmination, the works differ like the poles of a magnet.
The book in a rude and sometimes shocking manner demonstrates the animal essence of man in relation to his fellows. And the choice of an Indian, read a Native American, for the main role is not accidental. In the pages of the work, MacDonald portrayed the victim of racial discrimination, and the reader who identifies himself with the main character is completely absorbed in the desire to see, in the end, the desired justice. In fact, the chosen accent of the book is described by the old adage “meet by clothes”, but with a completely forgotten ending “show off the mind”, demonstrating people who are completely influenced by stereotypes of thinking.
The film creation, in turn, is a visualization of the perception of the literary source by the Depp brothers (the older brother became the co-writer, so Johnny’s legs were not always on the chair). The initially seeming simplifications are actually a conscious shift of emphasis from emphatically discriminatory to more attractive family and love. Performed in the manner characteristic of art house with a long focus of the camera and slowness in the narrative conveys to the viewer the conceived emotions. Whether it is enjoying the remaining life or fear of the unknown, a special role in the formation of the right mood is played by the “godfather” of punk rock, Iggy Pop, whose melancholy, and sometimes romantic compositions emphasize the fullness of the feelings experienced by the main character.
Old man McCarthy, another victim of “simplifications”, as an instruction to the designer, is able to radically change the attitude to the path chosen by the main character. Marlon Brando tried on an image that bears considerable resemblance to himself in the role of Colonel Kurz from Coppolovsky’s Apocalypse Now. The gloomy tone, penetrating in places its replicas into the depths of the interlocutor's brain, is full of composure and causes sincere respect for the character. In contrast, the literary brother rejects, and the speech about the inhuman torments prepared for Raphael is shocking with the detail and genuine pleasure that the old sadist experiences.
On such a versatile positioning of details, an ultimatum perception of both hypostases of the Brave is built, when one work is complemented by another, while maintaining intrigue in getting acquainted with the original source. As Johnny Depp's film debut, the work is of genuine interest, and the lack of that same bookish audacity in portraying low-level social strata, the reverse side of America, is successfully compensated by an expanded depiction of family and love values.