Sometimes the truth doesn’t matter. The most important thing is that you know it.
It’s time to move on to another film adaptation of Frank Miller’s work, Sin City. In my opinion, this is the most unique comic book film in history. Why do I think that? I will try to explain it.
But first, let’s talk about the characters and characters. The action takes place in the dark and unfriendly Basin City. The film features three main stories and one additional. Of course, they overlap somewhere, but for the most part they feel differently. The film reveals all the dark corners of the city with the help of various characters. So, honest police officer Hartigan is one of the few bright spots in the city. He is a hero in the classical sense. He is the most positive character in the whole film. His story is the most tragic. The main character of the second story was Marv. This character should be considered an anti-hero. He certainly has his principles. Which is rare in Basin City. But Marv is inherently a very violent, mentally ill person. This is reflected in the story. It was the bloodiest. The third story focuses on the highly controversial Dwight. He is certainly not a hero, but he is also not a pronounced antihero. So Dwight is in a middle position. It should be said that Dwight and Marv are still much better than many other residents of the vicious Basin City. I didn’t write about the content of the stories. In the case of “Sin City”, it is better not to know anything about the plot, but to receive parts of it while watching.
But let's not ignore the elephant in the china shop. Let’s talk about the artistic style of the film. Director Robert Rodriguez set out to recreate the source in detail. And he did it! The film repeats the original graphic novels. The director does not forget about the style of work of Frank Miller. The predominant color in Sin City is black and white. But some details are emphasized with the help of other colors. For example, blue highlights the color of the character’s eyes. It looks very stylish and creates a unique atmosphere. It is important to say that the film in its semantic component is extremely absurd and unrealistic. But that is exactly what the director wanted. The grotesque manifests itself in cruelty, pathos, strange dialogues and situations. In "Sin City," that seems appropriate. This technique as a piece of the puzzle is part of the overall picture of Basin City.
I would also like to praise the cast. So many big names you will not find in every film: Bruce Willis, Mickey Rourke, Rutger Hauer, Rosario Dawson, Benicio Del Toro, Michael Clark Duncan, Josh Hartnett ... Each actor is perfectly fit in the image, which is extremely pleasing.
Sin City was a unique film at the time of its release. It remains that way to this day. This film is not made for everyone. Some people might be pushed away by some stupidity. But personally I was imbued with the atmosphere of “Sin City” and sincerely loved this film.
9 out of 10
With the film "Sin City" I met as a child. Once I had a DVD "The Golden Collection of Elijah Wood" and on this disc were: "Lord of the Rings", "Faculty", "Everything Lighted Up", "Hooligans", "Day of Repentance" and including "Sin City". To be honest, this is not the best movie for young people! Do not repeat my mistakes, or you will also plunge into a severe depression from the pain of this world and at the same time gain a lot of new swear words. The film should be watched prepared and in this case, it is very interesting, unusual and dramatic.
The film takes place in the town of Basin City and according to its name is a real branch of Hell on Earth. A disgusting city that is soaked in corruption, prostitution, mafia and just brutality. The city is always at night, there are no good characters. They are divided only into finished scoundrels and those who are scoundrels but not so finished. The city is ruled by corrupt, vilified officials and served by the same police and even the church. One of the districts of the city is generally under the rule of armed prostitutes, where even the police do not go.
And to give Rodriguez credit, the city is just awful (in a good way). Seriously, even now watching the movie, I sometimes want to throw up with all this abomination. The city is a separate hero who shaped the characters and is so rotten that I’m sure we’ll twin this city with Gotham. Seriously, I think that's where Batman should go on a business trip. I also think I'd find something to do in this town with Rorschach from The Guardians. I also like the local intro screensaver with characters, really atmospheric.
So, in this “best city of the Earth” the main story takes place. The film is divided into 4 stories, where the main characters.
I. Difficult farewell
Thunderbolt Marv, played by Mickey Rourke, discovers that his lover Goldie, whom he met the day before, is dead. Now he wants to find those who did this and kill everyone.
The novella is very cool and first of all, it's thanks to Rourke. About Rourke generally write that he was in an acting crisis since 1991, and only the film Wrestler 2009. returned him to the acting Olympus. So, is Sin City part of his crisis? I don't agree with that. Marv is the most colorful character in the film. He is cruel, merciless, vengeful, but at the same time he is not a scoundrel. Mickey Rourke did it really well. As much as I watch the movie, I can’t believe it’s Rourke.
The whole story is filled with cool scenes where Rourke spoils the body of cops, gangsters, priests and it all looks cruel, but very drive and fair. However, I was confused by the scenes where he is literally killed with machine guns, and he is still alive and says “You should shoot him in the head.” Why is that? Does Marv have any superpowers?
II. The Great Lubricant Massacre
Dwight McCarthy, played by Clive Owen, rescues a neighborhood of prostitutes from the mob and cops. The novella is also cool, but it is worth noting that McCarthy's character is not as interesting and cool as Marv or Hartigon. He looks more like an intrusive prideoch. He has a girlfriend, Shelley, why would he want to get involved with this Jackie boy if the girls can stand up for themselves better than he can?
However, this is compensated by the fact that, in my opinion, this novel is itself cruel and best shows the rotten city. We learn that cops don't care about certain neighborhoods at all; that mafias can cut off heads; that prostitutes can bite each other. Seriously, no other story captures the vile spirit of the city. This is the only story that ends well.
By the way, I never understood who the hairy man with the gun on the poster is on the right of Hartigan. Turns out it's Jackie Boy. Why is he on the poster, not the main character? But there is no Marv thug at all!
III. That yellow bastard
The last honest policeman of the city, John Hartigan, played by Bruce Willis, saves a little girl Nancy from a psychopathic rapist who is the son of a local senator. This story is the most dramatic and cruel. Because throughout the story you literally shudder at the injustice that Hartigan is a hero and he is accused of pedophilia.
And it is here that the most interesting character of the film appears - Senator Roark, played by Powers Booth. He has only one scene, but it is in this scene that he explains to Hartigan the whole background of Sin City - he can kill anyone here and no one will think of arresting him, because otherwise the whole foundation of corruption and lies on which Sin City rests will be destroyed. If you think about it, the comment is relevant not only to this city.
IV. The customer is always right.
A very short novel as a prologue and epilogue, but Josh Hartnett is very good as an unnamed romantic killer. It is a pity that Hartnett disappeared from the big movie, he was a good actor.
And it's also worth mentioning that all of the film's stories are nonlinear and intermittent. Characters can overlap. For example, Shelley, whom Dwight saves from Jackie-boy, is a barmaid at Marv's favorite bar. Nancy, who was rescued by Hartigan, helps Marva sleep over.
There's even a moral here. Although the city of sins is decadent and corrupt, even there are glimmers of good in it. All the characters mentioned above show their best qualities. Marv wants to avenge a good girl who was kind to him. Hartigan is the last honest keeper of order and confronts a corrupt official, etc. If you look for meaning, you can even assume that the City of Sins is a purgatory in which vicious people can still prove their humanity.
"Sin City" is a cool, noir, mega-atmospheric film that brilliantly showed the most decadent, dirty city and at the same time the adventures of people who have not completely become vicious.
By the way, the film has a real star cast and all the characters here are embodied incomparably. Including Elijah Wood who plays the silent maniac cannibal Kevin.
10 out of 10
Sin City is an adaptation of Frank Miller’s well-known graphic novel about a city mired in vice, crime and violence.
The film takes a lot from the source, mainly the plot and style - filmed in a very stylish black and white range, many angles and frames imitate the turn of the comic book. The plot of the film is divided into a series of short novels related by some characters. Each of them is a separate story on a specific topic. All these arches are connected by the mood and the place of action – the fictional criminal capital of the United States, written off simultaneously from many primary sources.
In addition to the extremely memorable appearance and style, the film is remembered for its uncompromising cruelty, brutality and abundance of violence per square centimeter. In a movie, literally not a couple of minutes goes by without someone being beaten, shot or maimed. The kaleidoscope of all this tincture merges into a single symphony of the city of sins - a symphony of violence and vice. Such a content of the film creates a very dense atmosphere that immerses the viewer in this frightening, but somehow attractive world. The saturation of the action in the picture is maximum - literally bored once, especially the film always has something to surprise both plot and visually.
With the actors, the picture was clearly lucky - the creators managed to drag a large number of stars of the first magnitude, which look great in this criminal cabbage each in its place. They also play great, the benefit of their roles are not very complex and very typical for a militant / slasher.
The film will definitely appeal to lovers of militants and crime films, it can first be discouraged by the excessive dominance of cruelty, shootouts and cruelty, but this was the idea - to show the most hypertrophied criminal film with twisted to the maximum handles of violence - such an experience you will definitely remember.
The world has never seen such a literal adaptation of comics. Literally, visually. Cinema has been developing for many years, but only at the beginning of the third millennium, the possibilities of special effects allowed us to shoot what no one had the patience to do before - a black and white neonoir with colored elements and a large number of conventions in computer scenery. Dark, but bright in its own way, "Sin City" ironically and in itself harbors some sins.
Regardless of everything else, the name Bruce Willis played a big role in the promotion of the tape. In 2005, the actor has not yet reached the very bottom of his career, so someone could attract his face on the poster. From the point of view of visual presentation, “Sin City” is a very interesting movie, and it can be seen by the fact that after it there were other adaptations of comics in a similar style, take at least “Guardians”, at least “300 Spartans” from the original source of the same Frank Miller. But here we come across an important sin. The fact is that as a screenwriter Frank Miller causes a lot of criticism, and in collaboration with Quentin Tarantino, these authors can create such a Frankenstein monster that beware, unprepared viewers! Beware not in the best sense, because ... no, it is necessary to detail.
The film consists of four novels, the last of which combines some elements of the previous ones, and until the third novel begins, everything goes well: the grotesque and surrealism of what is happening cause approval, the strong drama makes you worry about the main characters and hate the villains. But then things go awry. Credibility evaporates, and there is something for which a few years later the film could not be missed in a wide release – “overwhelming sexism and national stereotypes”. The latter are associated with Asians and cause a reflex desire to roll their eyes: a cold-blooded girl with katanas. This is a banality level "Russian Ivan rides a drunken bear"! Disappointed laughter is caused by the clan of prostitutes, who not only do not freeze under the pouring rain in half-dressed form, so their makeup is not washed off. I’m not saying the movie doesn’t need beautiful girls. On the contrary, I don't mind at all. But all conventions have limits. Did you know that prostitutes can make a gang armed to the teeth hot? They only lack their weapons. Everything that happens in this novel causes distrust, including the relationship of the protagonist and the erotic priestess of love. There is no depth here, everything is too superficial. No better than the fourth novella, which is too far-fetched. The plot line of the ailing cop looked complete and did not need to be continued. Especially so stupid and unreliable.
At the time with the dinosaur park, the film goes overboard and with a depressive mood. The constant absence of color begins to burden. Viewers have already realized that this city is rotten through, and when they are overfed with the same, the mood worsens. As the script rolls in parallel, as noted above, Sin City is increasingly perceived as a literal sinner. Not every viewer is able to withstand such a gloomy atmosphere, and therefore it is important to understand the difference between art house and mass cinema. This film clearly breaks into the second category, but excessive freedom pulls him into the first, though not to the end. This is a very mixed experience.
Which ends up. As a fine art, Sin City isn’t bad, but as a story piece, it’s partly good and partly bad. Without denying his influence on world cinema, I still state that he will never become a classic, alas, never.
6 out of 10
Whatever you do with them, it’s still a joy.
A street thug named Marv
One of my favorite movies is Sin City, which was created by Robert Rodriguez, Frank Miller and Quentin Tarantino.
The latter, by the way, a year earlier pleased the audience with the film “Kill Bill”. Perhaps, if Quentin did not make films, he could go down in history as one of the most dangerous and cruel maniacs.
Rodriguez is a master of visual effects, who managed to create a unique atmosphere of the city of sins with its corruption and vices. A black and white world, terrible and beautiful, where only at especially important moments colors appear: red blood, whipping from wounds, beckoning and vicious green eyes of a girl, yellow skin of a maniac cannibal.
A city of contrasts where violence is the norm and kindness is so rare. Everyone survives as best they can in this uncomfortable world.
Bruce Willis and Jessica Alba were able to convey a heartbreaking story. On how an old cop named Hartigan saves a baby from a major sadist: The old man dies... The girl stays alive. Fair exchange.
Other stories are catchy too.
Undoubtedly, the secret of the success of the picture is a great acting team. In addition to Willis and Alba, she played Mickey Rourke, Devon Aoki, whose baby Miho with Katanas is very impressive, Clive Owen, Elijah Wood in the role of an evil freak. In general, Rodriguez and Tarantino worked well together, creating a spectacular, non-standard and stylish film in the noir genre, catching with drama.
A city of criminals, corrupt cops, maniacs and fucking politicians. This is not just a great movie, but a masterpiece.
10 out of 10
I've been looking for the Sin City comic book series for a long time. No, I didn’t, it was a real hunt. And in about a couple of months, I got a chance not only to get the whole series, but also to buy it at half the accepted price. For my collection of graphic novels on the shelf, Frank Miller’s Sin City is as important as Alan Moore’s Guardians. Besides, I got the idea of looking at noir in a book wrapper. Black and white pictures, diluted with colored key details (red dress, blue eyes, Yellow Bastard) - there is something attractive in this.
It is no secret that the authors of graphic novels themselves are not particularly enthusiastic about their work being filmed. For example, see Alan Moore. As much as people praised the films "V is vendetta" and "Guardians," he was not enthusiastic about them. Although Frank Miller refused to transfer the copyright to anyone, this did not prevent Robert Rodriguez from secretly filming a short film on one of the novellas and showing it to the author. Miller was so impressed that he gave the go-ahead for the film adaptation, but Robert attracted Frank as a co-director.
For such a trick, Rodriguez was expelled from the American Guild of Film Directors, but the filmmaker did not give up while working. The film retained the style of the graphic novel, up to the repetition of angles one in one. This is not an adaptation, this is the very embodiment of the comic book on the big screen. I don’t doubt that in the course of viewing there are questions about how people can withstand a dozen bullets in the body and survive the fall. After all, the central characters are clearly not like supermen. But you know, after reading and watching, I came up with a whole theory on Sin City, which I'll share at the end. I’m going to be looking at the novels.
"Hard farewell." In the center of the story is the thug Marv (Mickey Rourke), who is obsessed with the idea of finding the murderer of the prostitute Goldie (Jamie King). With his looks, Marv considers himself unworthy of even "bought love," although I know a couple of people compared to whom he is Venus de Milo. However, not everything is so simple, and a detective is born out of the blue, seasoned with blood and the smell of rain. I want to mention the character played by Elijah Wood, who even behind the thick glasses in his eyes reads madness. Did Frodo throw out the Ring of Power?
"Big Lubricant Massacre." Novella focuses on photographer Dwight McCarthy. Clive Owen, who played him, stood out best, and I'm sorry that after the drive "Shoot them" this actor is now in some cloak of cinema. Dwight intends to get even with the scoundrel Jackie-boy (Benicio del Toro), who wanders into an area called the "Old City". In the Old City, all the power goes to prostitutes, they are here and the police, and the jury, and the executioners. Jackie allowed himself to behave inappropriately, and a group of fighting girls led by Gale (Rosario Dawson) kills him. However, his murder promises a danger to the Old City. This is the bloodiest novel of all, and I do not see anything surprising in the fact that Robert Rodriguez brought to work his old friend – Quentin Tarantino. His participation was minimal, but the excerpt that Quentin directed also reeks of the style of the director. I also like the story arc of the Old Town. The affairs of girls with a stretch can be called “righteous”, but the damn stylization and dark white tones make you keep your eyes on what is happening.
"That yellow bastard." History has collected the greatest amount of dirt, but it has not lost its charm. Older police officer Hartigan (Bruce Willis) rescues a girl from a pedophile (Nick Stahl), who is the son of a big shot - Senator Roark. With his father’s hand, the policeman is put in prison, and the maniac is treated, but due to side effects, his skin and blood have turned yellow. After 8 years, the girl grows into a sexy Jessica Alba, old Hartigan goes free, but the danger from the Yellow Bastard has not gone away. Asking how this hippo from the tale of vaccinations did not die from his jaundice, we come to my theory.
My idea is that the Sin City series tells us about Hell in a noir interpretation. What do we know about the City? The police are not concerned about their business, the incidence of corruption, the whole area is under the rule of prostitutes, murder and robbery is a common thing. Residents are imbued with cynicism and composure, and the events of Marv, Dwight and Hartigan remind us that “the road to hell is paved with good intentions.” And there's another big shot in the City, Senator Roark and his family. I don’t remember exactly, but Roark is another name for the Devil. And Kevin, Jackie, Yellow Bastard are versions of the Riders (the sequel will feature "Fourth Rider" - Ava), each with their own abilities. So such reasoning becomes clear that what happens to the characters incidents like survival after shooting at point-blank range - evidence that the characters are clearly not in our world.
I may have gone overboard, but do you think you have food for thought? You will find this and other thoughts in the “City of Sins”. Unless, of course, you are a sentimental person who does not tolerate blood in the spirit and consider Harry Potter books the pinnacle of literary creativity.
'Sin City' in my opinion, this is a real swan song by Robert Rodriguez, where he, thanks to the cult primary source authored by the great and terrible Frank Miller, was able to fully reveal himself as a director. A stunning atmosphere, giving a grindhouse, colorful characters, good old-fashioned ultraviolence - ' City of Sins' and Rodriguez seemed to be created for each other, and it is not surprising that the final product turned out above all praise.
'Sin City' are several separate stories about different characters who have only one thing in common - they all live in one place - Basin City, a city mired in dirt, crime and debauchery. To survive the night in the city of sins is still a test, and not everyone will succeed, but everyone will do everything possible to leave something meaningful behind.
The first thing to praise in 'Sin City' is the visual style borrowed from the original comic, but with little difference. If the original source fully adhered to the black and white format, the film allows itself to add bright colors, highlighting blue eyes or red shoes, and it looks incredibly stylish against the background of the overall picture.
Insanely good and charismatic characters, not only thanks to a powerful source, but also a stunning cast. The cast 'Sin City' stars of the first magnitude shine - Bruce Willis, Clive Owen, Mickey Rourke, Michael Clark Duncan, Jessica Alba, Rosario Dawson, Carla Gugino and a bunch of lesser-known faces. All the actors perfectly coped with their images, which in general is not surprising.
Of course, the R rating plays into the hands of the film - naked bodies and hypertrophied violence fully justify the name of the tape, adding in addition to the visual style and another highlight. It is ' highlight ' because the shown black woman fits into the format of the shown world, being an integral part of it. And thanks to the excellent director it also looks very beautiful.
To sum up, 'Sin City' this is a magnificent project in the genre 'neonuar', revised by me countless times. Rough and grotesque heroes, reflecting on the eternal in between the break of the muzzles, stunning visuals, brutal action and naked ladies - what else is needed for happiness?
This world is as terrible as sin, and almost as delightful.
Frederick Locker-Lampson
C'Sin City' it's very simple: either you accept it unconditionally, and you like everything about it - from incessant violence to characters like spewed out of hell, or you with a film of various organics and you are contraindicated any dates. As soon as I started watching the movie, I realized it was my movie, a movie that was growing right through me. And I gladly let the filmmakers take me by the neck and drag me for 2 hours on the way out of fine shit. And I am not at all a fan of Miller’s comics, in fact, I have not heard of them before the film, and I am not a fan of Rodriguez, who I often rather do not like than like because of the defiant giddyness and thrashiness of many of his works.
But 'Sin City' - so far - the most attractive and masterful film I have seen in Rodriguez. What attracts him? Or rather, who? An inner pervert looking at the chronicle of war-crippled soldiers and slowing down at the sight of an accident, hoping to see something like that? Erotoman, shuddering at the touch of red silk to the skin and contemplating the beautiful priestesses of love in the roles of wild Amazons, designed to mix blood with sex? A teenager in a tough puberty who is interested in everything forbidden and therefore desirable? An aesthete standing in front of the canvases of Bosch and Bruegel? A latent sadist who only in the movies can unleash his fantasies? A child reading a scary tale under a blanket with a flashlight at night? The spectacle-seeker or the bread-thirsty one? I think Rodriguez, Miller and Tarantino have managed to mix an impressively horny cocktail that can stupefy anyone. And this does not mean at all that, loving 'Sin City', you sign in your own abnormality: beauty, aesthetics - including the aesthetics of ugliness - bright and sinister full-blooded images, inviting atmosphere - are able to conquer anyone!
Yes, the film consists of a waterfall of abomination, but, akin to ' Natural Born Killers' (although not reaching them in terms of meanings), shown in such an exceptionally picturesque form, the abominations lose their negative force and become only brushstrokes on the artist’s canvas, which you want to consider in all detail. Painting a smelly, damp, damp and sinister city, in which lust and vice reign, Rodriguez’s colleagues make the film what noir would look like from the point of view of German expressionists.
Each frame of this film is fascinating, not for nothing at the Cannes Festival he was awarded the Technical Grand Prix. Many films awarded with this award have become milestones in terms of the development of the film language, have had a clear or implicit impact on filmmakers, they are then studied, they want to imitate. For example, ' Touching Zen', which received the award in 1975, changed the attitude to Asian cinema, and subsequently became a springboard for the expansion of the East into Hollywood, from it grew all the sneaking tigers, hidden dragons, with heroes and flying daggers in addition. It is difficult to overestimate in the world of cinema the importance of such films as ' Car Wash', ' Bird' or ' Beautiful Child'. The feast for the eyes, which was arranged on the screen Rodriguez with Miller, appreciated and other genre awards, and before the luxury of a monochrome picture, which cuts poisonous-acid colors that form an attitude to the character or moment, it is very difficult to resist.
It's not just beautiful, it's sensual, meaningful, exquisite, it creates a depth incommensurable with the banality of a standard comic book movie, it electrifies the screen, turning the movie into a kind of decadence. I thought it was a sinful thing that if Spider-Man were filmed in the same style ' or ' X-Men', I would also be delighted with them, despite the superficial and hollow plots.
By the way, in terms of the script, the film does not shine with originality, but the stories told are quite comparable to the neonoir genre, and the characters - although no more than functions, due to the charisma of magnificent actors, acquire the significance and truth of life. With actors, Rodriguez was incredibly lucky. And actors with Rodriguez. Mickey Rourke has played the quintessence of all of his past roles and he ain't been that good in a long time! And how gorgeous the Brussels squint looked in the madness surrounding it! And how gorgeous Jessica Alba was! How ironic was Benicio Del Toro! And how sexy are Carl Gugino, Rosario Dawson, Devon Aoki... Absolutely all are good, despite the fact that they do nothing for which they receive Oscars and praise from critics, but manage to reveal characters with two or three rough strokes and awaken sympathy (or, on the contrary, disgust) for their one-dimensional, seemingly drawn heroes.
It is funny that the cloaca Rodriguez showed in his film was filled with love - mutilated, ugly, degenerate, but still love. Exactly the kind that could arise in the city of stench and decay, but nevertheless - the real. And despite the relished violence, the director does not shy away from the romantic euphoria that breaks through the screen and fills the city of sins with sensuality and passion.
Throwing on the screen a variety of events and characters, the director leaves the viewer to systematize and collect the material, logically linking individual novels to each other. This adds to the already interesting movie mystery. But in no case should we speak with this film in the language of logic - figurative thinking in this case completely supersedes analysis, although the authors manage not to violate the internal logic of the characters and the world in which they live. More relevant than ever was the voiceover, peacefully calm, as in the old noirs, no matter what happens in the frame.
Who is responsible for creating this picture? It must be thought that Miller and his comic book still prevail over Rodriguez, who never subordinated his film language to the harsh laws, and at the junction of these unique phenomena - such as cinema and comics, at the junction of two interesting and different creative individuals, something unique is suddenly born out of the seeming chaos. Perhaps only Ridley Scott as boldly and beautifully managed to dissect cyberpunk based on fabrics of noir, as Rodriguez and Miller on the basis of the same noir - to create their own graphic-cinematogoraphic film experiment, which will still have its say in the cinema of the future.
Before us opens a magnificently stylized world, bringing true cinematic pleasure cruelty, in which you get high from every shot. This is the triumph of cinema as a visionary, overcoming the convention of the comic book. Of course, ' City of Sins' will become a classic, and among the films of the 2000s will still shine with time the same bright spot as a purple bed in the shape of a heart amid the drenched grayness and gloomy despondency of the city of sin.
P.S. I watched 'Sin City' where Rutger Hauer played the terrible creation of the city - the all-powerful cardinal cannibal. And right at that time, the brilliant Dutch actor was gone. Rest in peace, flying Dutchman! It is a pity that not all roles were worthy of your powerful talent.
10 out of 10
I can say with confidence that 'Sin City' does not leave people indifferent. Some see it as a bloody mess, others find it a revelation. The main thing is that both of them remember and fall into the soul.
Of course, it is impossible to ignore no less high-quality comic, which is the primary source, but do not forget that each screen adaptation should be evaluated as a separate work.
This film is distinguished by its extraordinary style. It shows us a black and white world, colored exclusively with blood. In Sin City, everything is resolved with fists and people here do not go to negotiations, which perfectly explains the cruelty of what is happening on the screen. But is it pointless, as is often the case in militants? I think not. There are many characters involved in this story and each of them has their own motivation, perfectly explained throughout the film. Each of them has its own character and features that are not forgotten or ignored.
The actors are incredible, of course. Here we have Mickey Rourke, and Bruce Willis, in whose career this film became my favorite, and Jessica Alba, and Clyfe Owen, and many others. Indeed, many. For me, the real revelation was the beautiful model Devon Ayoki. Her role may be called a cameo, and she is not the most talented actress, but her character attracted the eye every time he appeared. It was impossible to take your eyes off her. This film is filled with star names, and they all play the maximum, even the smallest and insignificant roles.
The technical part is amazing visually, because you can't find it anywhere else. The film is made in the noir style. The chase scenes are performed opposite the limokay, which is striking, but does not make the film worse, only adds to its charm and features. 'Sin City! black and white with red patches. It looks like a comic strip off the pages. It's just amazing. It is also worth highlighting scenes of violence that are sometimes seriously frightening.
In the end, we got the best comic book movie that everyone should watch. Of course, 'Sin City' not for family viewing, but with friends or the other half (depending on what movie he/she likes) will go to 'ura'. I would recommend watching.
I didn't like the movie at all. Let the style of your own, let the unpleasant gray picture of the whole film, stupid makeup, special effects that lead the viewer away from realism - but the superficiality with which the world in which the characters live is described, the full concentration on the main character of a particular story simply destroys the entire presentation. The film seems incredibly long and predictable. No, you will certainly be surprised by jumping from the nth floor to the asphalt, but not the ends of the stories, which are practically unrelated to each other.
No details, the frame is empty and sir. It is difficult for me to describe this film, remaining within the bounds of decency. Ideas can be presented in different ways.
Before I saw it, I really believed it was a legendary movie. A film that deservedly took its worthy and honorable place in cinema. Is that really true? And yes, and no.
The plot? There's an imitation of it. There are 3 separate stories with fleeting points of contact. All three are completely banal and boring. And what is most disgusting of all, each of them is built on the same principle - unjustified and thoughtless violence for the sake of a higher goal in the form of a woman. It is sad to see that back in 2005, the filmmakers cultivated a similar feminist script.
Actors? No one can be singled out in this category. On the screen, there are people who are either talking or shooting/cutting each other. I didn’t see it as a challenge to acting.
Are you in trouble? Nope. This movie has one huge plus – it’s style. A special mesmerizing black and white blood-red style. For the sake of just a picture, you can see this “masterpiece”. I don’t know if there are other films similar in style, but in this nomination alone he earns an extra couple of points and the right to watch.
7 out of 10
The film “Sin City” based on Frank Miller’s comics was directed by Mexican-born director Robert Rodriguez and the author himself, there is a guest director Quentin Tarantino. This is an all-black and white film with blood-colored pieces, shot in the noir style. It is a hellish mixture of all the circles of hell, there is all greed, murder, violence, theft. But still there are sprouts of good that look for light at the end of the tunnel.
The movie is divided into several plot lines intertwined with each other like the stems of a wine. This is the story of a stripper Nancy (Jessica Alba) and an honest policeman (Bruce Willis), the story of an ugly strongman Marv (Mickey Rourke) and about a prostitute killed by a maniac (Elijah Wood), the story of a prostitute guard (Clive Owen) and corrupt policemen led by Jackie-Boy (Benicio Del Toro).
All the stories are very dark and full of bloody scenes. They accurately repeat the pictures from the comic book and in general, Rodriguez turned out a great comic book film.
This is one of the masterpieces of world cinema, a worthy film of the director who later slid completely into unseeable cinema.
9 out of 10
Special thanks for the nude Carla Gugino and Jessica Alba dancing.
Robert Rodriguez’s film, based on Frank Miller’s graphic novels, personally evoked a feeling perhaps comparable to the feeling of euphoria when I first saw it. Not like the others, shot with a lot of computer graphics, but made so stylish that it does not leave indifferent. That was my first impression.
The story of Basin City (literally can be interpreted as a city in a basin or in a bay), which with the leg of the Creator’s hand turns into Sin City (Sin City) – the focus of all the most vile and disgusting that can only settle in the hidden corners of the human soul. This city would be a good object for Batman, but alas, there is no room for good guys in the universe built by Frank Miller. Here, even positive characters have sins. The city of sins is not just a settlement, it is a hotbed of violence, debauchery, death and hopelessness. The danger here lies not only in dark alleys, but even in hospital corridors!
The film consists of four novels that are related to each other, but at the same time, they all have different timing, thus making it clear which is paramount and which is slightly less significant. The number of the latter includes the novella-prologue “The customer is always right”, where Josh Hartnett flashed. It reveals to the viewer the potential of the whole film, prepares for the fact that it will only get worse and makes you believe that hope does not die last, it no longer breathes.
Each of the four presented stories tells about different heroes and different crimes. Each of the novels is cruel (to a greater or lesser extent) and of course, such a movie should not be watched by children with not yet strong psyche, because the film is full of scenes of violence, which in two hours flashes so much that it becomes clear why the City in the Bay became the City of Sins. Stylistically painted in black and white tones, the film contrasts the viewer’s eye with individual elements (for example, blood, bright green eyes or the color of the hair of a prostitute, or the color of the shoes of the hero Clive Owen), drawing attention to what deserves this attention. Despite the monochrome, the picture and in this form looks juicy (even without colored inclusions), because some elements are bleached so much that they can dodge (glasses of the hero Elijah Wood, for example), rain streams are clearly visible, because falling from the sky drops like lightning cuts the screen, necessarily falling into the field of view of the viewer.
“Sin City” can be broken down into phrases that have become winged to some extent. “The old man dies, the girl stays alive: an honest exchange”, “She smells like angels should probably smell”, “It’s a gutter when all sorts of goats beat the ladies”, “We need to let the heart calm down and let fire out of the lungs.” My muscles promise me in the future terrible agony", "She trembles like the last leaf on the branch of a dying tree. I don't hide the sound of my footsteps. She pauses for a moment", "There is a limit to everything, baby ...", "My warrior. My Valkyrie. You'll always be mine. I always loved you. Always and never..., A great way to end your friendship with your partner and retire, Miho, you’re an angel. You're a saint. You're Mother Teresa. You're Elvis. You're a god. But if you had appeared here ten minutes earlier ..." - many of them could well become vivid and unforgettable episodes from some best-selling books, but found application in the characters of Sin City. These phrases, said by completely different people, seem to give the idea that these people, although they may turn out to be scoundrels or murderers, they still have some moral principles.
In the film, there is not much dialogue and the narrative is conducted from the hero who voices his thoughts and vision of the situation in this or that action. The characters seem to share their opinion with the viewer, as if asking them for advice or clarification, as if justifying their actions.
To write about the fact that there was an incredible caste is superfluous. Just go by the names: Josh Hartnett, Bruce Willis, Michael Madsen, Powers Booth, Rutger Hauer, Mickey Rourke, Carla Gugino, Elijah Wood, Rosario Dawson, Benicio Del Toro, Clive Owen, Brittany Murphy, Nick Stahl, Jamie King, Jessica Alba, Michael Clark Duncan, Alexis Bledel, Devon Aoki, Tommy Flanagan (the man with the most famous scars in Hollywood) and the filmmakers themselves - Robert Rodriguez and Frank Miller in the priest, respectively. Cool lineup! Charismatic, explosive, murderously beautiful, manly brutal, in short, well-chosen. Each of the actors and actresses played like the style of the film – graphically – somewhere not quite natural, but believable and therefore, revising “Sin City” once again, it is difficult to imagine that anyone could cope with the role better.
But look at you. I do not impose my opinion on anyone.
If you go into the night in a deaf corner in an ordinary city, you already roughly know what is waiting for you. But if you go at night in a deep corner in the City of Sins...
': A bloody hot night. A fucking room in a shitty part of a shitty city. I look at the Goddess. She says she wants me. I'm not going to guess why I was so lucky. . . '
You know what happens? Your life is peaceful and peaceful. There were good and very good and bad and very bad moments. There were disappointments, there were revelations, in a word, everything happened. You think it will continue to be so, but one day something happens that turns your whole being upside down. An event that lets you know that you have lived your life in vain. What do I mean, you ask? Yes, gentlemen, it was 'Sin City' Robert Rodriguez that became such an event in my life. View 'City of Sins' made me take a different look at this cruel and unjust world in which we are forced ... to live? Not to live, but to survive. In a city where events are taking place, murders, like other types of crime, are normal, so the police are hopeless. At every corner, you'll find either a mobster, a maniac, or a prostitute. Well, just like in the game ' Mafia', only a doctor and a commissioner are missing. For the most part, people here are not familiar with moral principles and humanity. Come on, there's even priests here, and those venal things. And those who try to live up to their conscience either stumble on the stone of injustice or are swallowed up by the rotten society that dominates this city. But in both cases, these people realize that it is impossible to live honestly without committing a single sin. This is why the city is called the City of Sins.
The power is not in the token, not in the gun. The power is cheating. When you lie and the world is ready to play along. And as soon as everyone around agrees that they are disgusted in their hearts - consider them by the balls.
It would seem that the general concept and setting of this creation is not very good and correspond to what is happening in real life. But only those who see only what lies on the surface. And if you dig deeper, you unwittingly realize that Sin City & #39 is really a mirror of the society in which we live. Each situation described in the course of the narrative is sometimes drawn to try on that gray mass, which in our opinion is called reality. Wanting to make situations more appealing ' appearance ' Rodriguez hired a special group of artists whose end result reminds us of such important components as the style and atmosphere that this style emphasizes. For a completely unique styling 'City of Sins' characterized by a very attentive attitude to detail and expressiveness of some of them. For example, imagine: against the background of a black and white panorama of the city beckoning with its dreams, a young attractive woman in a red dress stands thoughtfully on a scanty black and white balcony. Impressive, isn't it? But the style is not only visual, there is also the so-called author's style. The latter in this case personifies not so much Rodriguez as Tarantino. By the way, the fact that Tarantino had a hand in the picture, it is easy to guess anyone who dares to call himself a moviegoer.
'If you know where to turn in a city of sins, you can find anything...anything.'
The sweet main cherry on the cake is the characters. When the character in general and his fate in particular causes sincere emotions in the viewer, and what is even better - makes the viewer really empathize with the hero, I do not want to pay attention to who this hero is by type of activity, social status and so on. Whether he is a ruthless killer or an honest policeman, it does not matter whether the hero can overcome the obstacle that stood in his way. That Hartigan in the expected remarkable performance of Bruce Willis, that Marv, first-class played by Mickey Rourke, that Dwight, whose role was perfectly performed by Clive Owen, are trying to achieve justice (well, at least relative), and along with their simple motives - to avenge their beloved woman / girl - their relief and originality is visible, and the positions in which this trio fell, seem to the viewer incredibly familiar. To be honest, I personally admired Marv the most, not only because of Rourke’s incredible charisma, but also because of his perseverance and desire to achieve his goal under the influence of any circumstances.
39: I can’t talk to people, but I can calm a girl down just as easily as a paralytic can do brain surgery with a wrench. '
Usually, in order to describe the best impressions of the picture, the words ' Excellent', ' Wonderful' etc. are used. However, 'Sin City' is not just a superb canvas. This is an impeccable masterpiece, a real work of art that withstood the onslaught of time, strong and stylish. A work of art that has received well-deserved recognition in wide circles of society and which continues to amaze to this day. I can endlessly sing praises to this creation, but you know, this is completely unproductive and useless, you better appreciate it yourself. And it does not matter that the picture is teeming with cruelty and partly even goes beyond the limits of adequacy, because of which it honestly holds the status ' not for the faint of heart', I received true pleasure from it and do not want to lose this effect.
Since the premiere of this tape a lot of water has flowed, but it still opens its eyes to the viewer on those things that he previously could not notice. And who knows it, maybe you too will find your truth in 'Sin City'.
The Miller-Rodriguez-Tarantino trio tried their best. But if it wasn’t for Robert’s persistence, Frank’s comic would have remained ' behind the scenes'.
The history of this project, I must say, is very interesting. And I bet a lot of people know her. Uninformed to enlighten - when Robert was excited to bring the creation of Miller on the big screen, the first it became clear that the path will be thorny. Moreover, the thorns began with the purchase, in fact, of the rights to the film adaptation. Frank has long made it clear to all hunters for his work that he will not succumb to the temptation & #39; He had his own problems about it. Therefore, Robert had to show miracles of ingenuity to break him. And since the ingenuity of the director was not to occupy - he shot a short film based on the sketches of the artist and gave it to the court - pretty quickly they came to a common denominator. And the guys worked so hard that they became co-directors. Well, in addition, Robert called his bosom friend and colleague Quentin. And the work boiled.
The film, of course, is completely consistent with the style of the original. And the technique 'green background ' here came in handy. Rodriguez managed to accurately reflect the world of depravity and vice created by Miller. Action, eroticism, black humor - everything is. Here, of course, and the merit of actors - Bruce Willis, Clive Owen, ' eternal hobbit' Elijah Wood, Rosario Dawson, Jessica Alba, and others. Made his own contribution and makeup artist - like, only made a couple of changes in appearance, but the same Del Toro and Rourca almost do not recognize. In general, we tried everything (I do not want to go too deep into the details).
Perhaps also note that the sequel, which takes place before, after, and parallel to the events of the original, hooked slightly less. Visually everything is quite normal, plus the presence of new actors, but the atmosphere of the initiative is clearly not on the side of the second City. However, this is purely subjective. In any case, Frank Miller's universe is worth exploring. Admittedly, he appreciated the first city on the second attempt.
By the way, after that, our debutant again decided to sit in the director's chair (himself), for which he chose the comic book of another author - The Spirit (in our box office & #39; Avenger'). The result was quite successful, although simpler than Sin City, which is quite logical - there was no support.
9.5 out of 10
The review was supported by Jessica Lange from the fourth season of American Horror Story. Gods and Monsters...
I'm not here for fun!
I came for you.
(approximately 1 minute of the film)
City of Sins
3 movies for the price of one, and if you strain your brains, then all 4. Ladies and gentlemen, my name is Z. Back in 2005, your humble servant made a huge mistake. I went to the movies to see the movie Doom, and this picture of comrade Rodriguez missed his huge nose. Yeah, it was a disgusting movie year. I later redeemed myself when I ran first on Planet of Fear and Machete, but the fact remains. It's been years. Now I decided to review this movie, what beauty I still regret.
Film first
The Goddess story. Gloomy and sexy. The torn female heads are watching. Rutger Hauer's green eyes are burning. Look at them and forget about the bum with a shotgun. The movie is about Mickey Rourke still alive. The actor who got spit in the face by Hollywood and he came back and showed that you missed the Gods (Gosling, Affleck, LaBeouf and others). You really missed the gods. Mickey Rourke has a grin for them all. Jamie King has sex better than anyone else. Baby Elijah Wood has the most magical voice in the world. Listen to him, please. I'm looking at Wood and I'm kind of uncomfortable. He's like Toshio from The Curse. Why do I feel that way inside me? I don't know, ladies and gentlemen, I don't. It's a movie about a man's love for a woman. One of Rourke and Wood's best roles! And yes, Gugina has a butt and a chest, I've sorted through the subject.
Film II
The story of a stinking loser, Del Toro, who has a rotten tongue. This is the language he says he never beat a woman. It's a great feat! But then why is Murphy crying? Murphy smells like someone else's love. Eternal memory, baby. The movie is about Clive Owen wearing red sneakers. The swamp that sucks you in. You just need one breath. Michael Clarke Duncan is an artist. He knows how to make a beautiful woman. This movie is about the fact that you always need to flush the toilet, and also about how bad it is when a helicopter flies over your head. Women will always defend their territory. Tarantino knows that, so he's shooting a gorgeous scene with the men in the car. Rosario? No comment! She's crazy. One of Del Toro's best roles! Film Three
The story of a sick old man. He's tired, he's very tired. Alba's lasso spins so brightly and gracefully that you automatically call this the coolest role in all her terrible filmography. Nowhere else did she turn her lasso, sadness. It's a movie about a yellow impotent who can't do anything. All women have to scream, then you get magic. Die Hard brings out something beyond the end of this heartbreaking story. I've often been told that Bruce is an unrealistically cool actor. I haven’t believed it since the Fifth Element, but it all came together. After this role, you can hang gloves on a nail. Only Michael Madsen stands by and smiles brazenly. Michael, thank you for being in my cinema. One of Bruce's best roles!
Fourth film
Josh Hartnett. Don't forget him! One of Josh's best roles! All ...
“Sin City” is the magic of cinema in its pure (I would even say zombie) form, so such a high rating. I love Robert very much. After this orgasm, he will stay with me forever.
P.S.
Robert Rodriguez is a remarkable figure in himself. One of the best friends of Quentin Tarantino and a very vivid example of how you can make a debut film for ridiculous money and thereby become famous. Later, the director did not fail to write his own book. It is believed that thanks to the unassuming and simple, but rather stylish and already cultic ' From dusk to dawn' George Clooney broke out in the status of a star. At the same time, Robert Rodriguez has such dubious projects as 'The Adventures of Sharkboy and Lava 3D', 'Children of Spies 4D' and 'Wishstone', about which it is probably better not to mention at all. And the output 'Women, for whom it is worth killing' was not successful.
The comic book era. As something inevitable and terribly unshakable, this era began to capture the mass market some 8 years ago with the release of the films John Favreau and Christopher Nolan. Now the production of a film based on picture books in many respects promises good or even excellent financial dividends. After all, the strategy includes not only the cinema itself, but also various related products with thematic entertainment. Unfortunately or fortunately, two giant studios have exclusive representation - MARVEL and DC - whose fans and aggressors who have joined them constantly like to make a fuss about and without. How much to live with this is still unknown.
But 11 years ago on the screens of the world (and the first film saw the Cannes Film Festival itself ) came out, I am not afraid of this word, the legendary 'Sin City', to which the term 'graphic novel' instead of children'comic' is quite seriously applied. The ideological inspirer and main director of the project was Robert Rodriguez, who earned eternal fame for the rest of his career. Fate has prepared such a turn that in the distant 2005th year an original, innovative and conceptual film work was born, which at once captured attention and demonstrated an exceptional approach. There is no doubt that all participants remembered the shooting for a long time.
Although the depicted world seems fictional, the events taking place in it can hardly be far from reality. Corrupt from top to bottom, the city, in which long forgotten about the phrase “Serve and protect” & #39; corrupt cops are always ready for any nasty, appears not even hell on earth, but some hell in hell itself. There is no day or night, only darkness and all-consuming evil. It only takes the smell of fear and the smell of vice to realize where a person would like to be last (or not at all). Some perverted dimension in which the river pours lousy alcohol and liters of blood from human corpses. It's not a place God created.
Consequently, the right and necessary measure of Frank Miller, the author of the graphic novel, was the creation of cool, strong and at least half positive characters, not afraid to challenge their own Goliaths. Marv, Dwight, and Hartigan are so different, yet similar, individuals within which there are still remnants of honor, valor, and justice. All three do things for or for women, because in Sin City, the female being is for the most part a victim's treat. However, the time of the knights – this time in capes instead of armor – can come even in the worst place for life and death. And that's where the romance lies.
'Sin City' - stylish, unforgettable and beautiful cinema. It seems that here not even the city itself and its characters come to life on the screen, but rather the audience inevitably plunges into the abyss of sparkling violence. As if a colorfully illustrated edition had opened, a dazzling light appeared and the reader found himself inside the story. Wet to underpants, not knowing where to go, and meeting colorful types. Remembering the creation of Robert Rodriguez, there is a desire to laugh at how fans call ' The Avengers' or 'Suicide Squad' masterpieces. Well, in this case, it does not hurt 'The Big Fat Kill' to dispel the illusions. For me, 'Sin City' and 'Guardians' are real examples of their genre.
The film draws from the very first frame. Very easy to understand and understand. And yet very, very unusual! The film is both purely entertaining, and vice versa, deep, but in an unusual presentation. The reality and presentation style created in the film reminded me of Chuck Palahniuk, although the film is based on comics. The same internal monologue of the main character (here are three, independent of each other main characters), the same gloomy reality on the verge of psychotropic delirium, ready at any moment to curl up somewhere in the underworld, a kind of dark love stories, devoid of light and romance, an atmosphere of darkness, decay and hopelessness, the absence of light at the end of the tunnel, some admiration of what is happening. Add to that the brutal, bloody, merciless presentation of the whole story. The dark realities of Sin City.
It turned out a film in the style of noir in its pure form. And at the same time, a movie based on comics. This is truly a film with a unique visual style, bright, memorable, spectacular images. The emphasis is no longer on the semantic, but on the visual component. But the meaning here is worthy of attention. The picture will stick in your memory for a long time. The soundtrack also plays a role in the atmosphere of the film. The atmosphere is amazing.
The plot tells three parallel stories of three different characters, only indirectly related to each other. All three elicit sympathy and empathy, though not all three are unequivocally positive. All three perform feats and make sacrifices because of the love for a woman who appears to be something greater and uplifting than the banal carnal attraction. One ray of light has penetrated the city of Sins, and its name is Love, although it does not bring happiness to the heroes, but it forces them to act, to act as they consider fair and right. And get better.
More about heroes. First we meet Marv in the performance of completely unrecognizable here Mickey Rourke. Marv, a former criminal with a brutal face, is looking for the killer of his beloved, in order to brutally deal with him. The embodiment of a violent, uncontrollable, dangerous force, and at the same time suffering through the loss of true love, despair and loss of hope. It is not positive in the usual sense, because it is somewhat limited and brutally cruel, but there is something attractive in it, the same determination, the ability to love, the desire to restore justice. He is incredibly charismatic and understandable to the viewer, so you begin to sympathize with him. A very impressive character.
Bruce Willis' Hartigan is by far the most positive character in the film. A policeman in Sin City who once saved a girl from a maniac. The story associated with it is perhaps the most penetrating, just to the depths of the soul. This is the brightest thing in the City of Sins, the power of its affection, selflessness and readiness for self-sacrifice. But the Nancy he saved also has these qualities, she carries the potential for a bright future even in this dirty and rotten city.
White's story is also interesting, though not as dramatic as the previous ones. It is more dashing and full of adventures. The story of Superman, who decided to punish a bandit, but became a pawn under the control of the true mistresses of the old city. The most fun and rich in special effects novel.
Of the secondary characters, I want to note the maniac Elijah Wood, the memorable villain Rutgert Hower, the policeman Michael Medsen (which is easier to imagine Marv than Rourke, although the latter played the role perfectly). But especially impressed Jackie Boy, a very textured villain, the storyline associated with which is very interesting and even a little funny black humor. Absolute persuasiveness and strong dark charisma. For me, after repeatedly watching Fear and Loathing in Las Vegas, to face Benicio del Toro in his natural state was unexpected. Unusual, but his game is just amazing here. The second most spectacular character after Marv. Yeah, there's also Yellow Bastard. Convincing, scary, disgusting. The girls are also great, they do not have such deep characters, but they portrayed everything they needed perfectly. Especially impressive is Miho, who masterfully owns martial arts.
No less important role in the film is played by the magnificent direction of Robert Rodriguez, an unusual script, as well as superbly staged special effects. The film is very high quality, beautiful and interesting. It turned out to be a kind of fantasy, but noir style. Black and white range with rare colored inclusions, also works to create a special atmosphere.
Paradoxically, there is no impression of dirt or reigning debauchery, but there is a feeling of pre-apocalypse, when the world has almost reached the point and all the norms and boundaries familiar to us are erased, and only the elect comprehend them with their mind and experience. A strange surreal world, in a fragile equilibrium that could collapse due to a slight oversight, and then war, a struggle for power and the right to exist, will begin. But even in such a world, there are still people who can love and sacrifice in the name of love. The film is about love, although it is far from melodrama. The paradoxical neighborhood of cruelty, injustice and violence on the one hand and true sublime love on the other.
After watching, there is a slightly depressing sensation, but the film leaves a unique impression. Despite the apparent simplicity and obviousness, the film is serious, deep and rather sad. It is impossible not to feel under the mask of purely entertaining, designed for the external effect of the story. But the film is not oppressive and heavy. It should appeal to fans of adventure films, fantasy, action films, Gothic and Noir, and of course to all those who simply love an unusual impressive movie with meaning, regardless of genre.
9 out of 10
- The old man is dying... The girl stays alive. Fair exchange.
I got acquainted with this film back in 2005, when it actually came out. Since then, more than 10 years have passed, and during that time I have greatly expanded my horizons in terms of comics. I also learned about Frank Miller’s work. And now I decided to review the first film of the dilogy City of Sins.
The film is divided into several novels. The client is always right, as it is not easy to say goodbye, Kill so kill and Green Bastard All the novels are not related to each other in the plot, but are indirect connection. It's like watching multiple stories from different angles, the same characters. Some characters appear in several novels at once, but at different intervals of time.
Well, visually, it's hard to tell. The film is completely made against the background of chromakey, which is noticeable to the naked eye. If we consider this as an experiment to completely transfer the atmosphere of comics to the screen, then the idea succeeded. But for viewers unfamiliar with the printed original, this will clearly seem strange and unnatural. But I'm one of the first ones, so I'm going to put a five on the visual side. Atmosphere is 100% Directed also five. You may not be an avid moviegoer, but Rodriguez's handwriting is still there. Blood, non-standard cruelty, the style in which the film is sustained. This is the perfect director for this project.
The actors did a great job. Bruce Willis as always in his role, Mickey Rourke even surprised a little bit by beating his hero, Jessica Alba as always cute, and with a dozen great characters that are interesting to watch.
8 out of 10
Charitable action from a mysterious fan in support of the profile of Kotik Ksu.
If it was a dream, it was very strange. Scary-weird. Leaving a nasty smell deep in the nostrils. The world narrowed to a gray-black tunnel in which muddy rain trickles flowed down gloomy blurred walls. The characters resembled talking shadows moving through fake-luxury scenery. Good in fear lurked between stinking heaps and garbage cans, giving way to the undivided ruling evil. His ugly henchmen occupied all power cells, condemning the rest of the unfortunate, if not to death, then to the deplorable existence of zombies. Only bright flashes of rare heroes illuminated this improvised scene, bringing diversity to a monotonous play of abomination and vice. A fierce fire of uncompromising struggle briefly decorated the city with purple tones, extinguished under tons of cynicism and cruelty. Nancy, close your eyes, don't look at it.
The fear of a bright flash flash flashed deep into her piercing blue eyes, warning a deaf pop of an imminent shot. It was over - they won. Cruel puppeteers, whose criminal genius was drawn black and white scheme, resembling either a bizarre fantasy, or a sophisticated game. Her dark plot swirled and writhed a motley serpent ruled by its invisible patrons. The spectacle is so unusual, so fascinating, making eyewitnesses forget the realities of their world. And plunge into the fantasy painted by a bold artist with the initials F. M. It was an endless snowfall of dirty dialogue, ending in the blood-black performance of ruthless masters - Mr. R. and Mr. T. Their hyperbolic city grew on the yeast of human sins, absorbed and multiplied modern mores, retouching abomination and betrayal under a scanty palette. Not a city, but a giant cemetery that eagerly reaches for new bodies of the righteous.
Exactly 11 years ago, a picture was released, directed by the specially invited, postmodern guru Quentin Tarantino, no less significant Robert Rodriguez and Frank Miller himself, who is a cult illustrator and screenwriter, who gave us such famous masterpieces as the updated Batman, starting with the series “The Return of the Dark Knight”, “Daredevil”, “300”, “The Avenger” and, directly, “Sin City”.
The film is based on three graphic novels from the series - "Hard Farewell", "Big Sugar Massacre" and "This Yellow Scoundrel" written and illustrated personally by Miller. The series of short stories “Sin City” is, first of all, absolutely criminal, but at the same time, moralizing, psychological work written in the style of “noir”. Accordingly, the picture itself, under the strict guidance of the maestro, retained the same style and “pressing” atmosphere, causing a feeling of “reviving comics”.
Definitely, neither the comic book nor the film, will not appeal to every viewer. People already familiar with Miller will definitely appreciate the picture, and, directly, the architect himself, who played the episodic role of a priest. For those who have Miller’s “black” world as a novelty, I advise you to first watch the trailer and, in the future, “decid” or “retreat”. But one thing I can say for sure is that you need to watch such a film in order to feel this atmosphere and, in the end, discover something new. Since such films are very rare. I’m not talking about thrash action movies, with “urine”, namely about a high-quality “picture”, with a great script and sustained style, which will look in 10 and 20 years with no less interest.
The plot of the film is the stories of several title characters, sometimes their storylines touch, but unites their fictional city of the Miller universe - Basin City, in which the events unfold. The “entrance ticket” will give you the charmingly dangerous Josh Hartnett, and he, in fact, later, will escort you to the “exit”.
The most powerful and ferocious character, carved seemingly from stone, in a stunning performance by Mickey Rourke, Marv, a man with the right moral and moral messages. As another protagonist of the film, Dwight McCarthy (Clive Owen), said: Many people think Marv is crazy, and he was just unlucky. He was born in the wrong century, he would have hit an axe in someone’s face on the ancient battlefield, or in Rome to fight other gladiators.
Also before us will be the story of detective Hartigan (Bruce Willis), a certain folk hero who has not that health and strength, but, despite everything, honestly performing his duties. His storyline is closely intertwined with the “baby” Nancy (beauty, Jessica Alba), as well as with the antagonists of the line Senator Roark and his son, aka “Yellow Bastard”.
We will open the world of the old city - the heart of Basin City, where there is a block of brothels, where everything is run by the "Girls of the Old City" and neither the mafia nor the police go there.
The picture can safely boast of countless good actors, whose names are literally “on hearing”. Carla Gugino, Elijah Wood, Benicio Del Toro, Rosario Dawson, Jamie King, Rutger Hauer and many others. And here they appear in absolutely unusual images.
“Sin City”, even after so many years, has not lost its wild atmosphere, sustained style with a pinch of thrash and continues to look with interest, definitely causing emotions. Do not expect anything entertaining, here everything is much more serious: here blood is for blood, and moreover in gallons; as in old days, bad days, everything began again.
8 out of 10
“Sin City” is a unique project that has already become a cult, as well as a series of graphic novels of the same name by Frank Miller. Robert Rodriguez did a tremendous job bringing Miller’s work to the big screen. The gloomy, noir atmosphere of the film captures literally from the first seconds, plunging into this vicious world and not letting go until the final credits. Add to this a unique style, stunning monologues, great stories (and there are several of them here) - this is the recipe for a real masterpiece.
All the characters in the film are insanely charismatic, colorful and cool and literally eat into memory, even if they appear only for a few minutes. Special thanks for this must be said to the magnificent cast - Bruce Willis, Jessica Alba, Clive Owen, Mickey Rourke, Carla Gugino, Rosario Dawson - not a complete list of eminent actors involved in the film. And this is not the case when a big name is needed only to attract attention to the film, no – here every actor in his place.
With the action in “Sin City” is also complete order. No laws of physics, no realism, and it's amazing! Only the laws of coolness, just hardcore. Despite the sometimes seeming cartoonishness, this is exactly what such a film needs - excessive phantasmagoric only gives an additional charm to this world.
The stories in the film are also interesting. Each focuses on one character, but it also makes it clear that everything takes place in one city – in each such separate plot, familiar faces and familiar places from other stories flash. But this does not confuse, on the contrary, gives a more complete picture of what is happening, a more complete picture of the city itself.
Bottom line: Sin City is truly a masterpiece. At the highest level, literally everything is done - from the stunning visual part to the chic monologues. Everyone should at least once plunge into this atmosphere of vice and lawlessness of the world of Frank Miller.
10 out of 10
There is no genre with more attractive exterior and interior attributes than noir. And when he passes through the comic sieve, stretching to the utmost essential consistency - here and not a fan risks falling under his smoky and thick shadow. A director of exceptional ambivalence, an intrigue director, with whom it is not completely clear which side he will turn next time to everyone (however, every year the intrigue is poured with yellowed sugar sand), Rodriguez found the right material, which was able to coordinate at the right points all the hidden low passions and hobbies of the desperate among Hollywood pavilions.
The virtual environment of the film emphasizes the conditional schematic nature of the world in which the heroes of the noir genre are forced to stay. After all, what is the next case of a fatal woman pulling into the abyss, but a sequence of predetermined instructions from above - in this case, derived by software? If Rodriguez had stepped in the traditional ways of filming, the film would have lost - perhaps unintentionally laid down - the multifaceted nature of the laws operating in it. The viewer subconsciously snatching detachment from the reality of the action, comes into contact with the shown other kind - perhaps tactile.
Heroes 'City of Sins', immersed in this eternal virtual darkness, suddenly add to the relief. The background pushes forward their vitality. Movie art has come a long way so that we stop being surprised by ordinary people and situations caught on camera - all this winds into our heads in a routine way. And here comes Rodriguez, surprisingly accurately selecting the foundation, implants quite full-blooded people and the usual moves in luxurious three-dimensional scenery, ready at any moment to play with his own life - and inevitably all previous spectator experience disappears. The heroes of the main three actors are no longer tired of cool guys, in their genealogy departed from the heroes of Hammett and Chandler only if their hyperbolized, truly comic coolness, and people with whom the meeting is quite real. Not green eyes, suddenly lit on black and white fabric, not comic blood, stylishly pouring monochrome, are brought forward - but the feelings and experiences of people, albeit fictional, albeit expressing a ridiculous high-flown syllable.
It is likely that the achievement ' City of Sins' already in potential estimates was unable to reach a wide circulation, the conclusion of which is a coolly accepted sequel - and visionary Rodriguez's habits were a common superficial formal game. But it just so happened that one day our El Mariachi successfully laid all the cards in their hands, as a result of which they avoided the unenviable fate of the heroes, the world he built.
As the title of the review suggests, I recommend watching the director's version, as it's divided into four separate stories, each of which I'll cover below. Frank Miller, Robert Rodriguez and Quentin Tarantino have created a unique experiment that is undoubtedly worth your attention. And while the film doesn’t have the gloomy atmosphere and aesthetics you feel when you read the original, it’s a revival of the noir genre, and therefore there’s also cultural value.
"Difficult farewell" - the film adaptation of the first volume, which was published in Russia in the translation of Dmitry Puchkov, by the way, a little pity that he did not translate at the same time and the film. Boobs, blood and all tin are present in full. The screen adaptation is almost frame-by-frame and almost one long quote, except that there are much more colors, but the essence of their use is conveyed correctly, and the original style is preserved. Mickey Rourke is perfect for Marva, Elijah Wood is strikingly good in the image of Kevin, Carl Gugino and Jessica Alba look very decent and organic, Miller himself and all the secondary characters are almost perfect. Rutger Hauer is controversial and Jamie King does not pull on the ideal angel girl, as well as on her sister, no matter how directors try to compensate for this visual style, but they do not spoil the film. The main problem is that, while remaining an almost perfect experimental adaptation, the picture itself does not look very surreal and artificial. Score: 8.
"Massacre of the upper class" - film adaptation of the third volume. I don’t know why the writers decided to skip the second one, later making it as a separate film, but that doesn’t spoil the story. Unlike the fact that they removed the great reference to the Spartans and seriously changed the ending for the worse. In addition, here theatricality is too striking, and the game with color begins to strain due to frequent overflows, which were not in the original. Plus, Brittany Murphy as Shelley is not exactly accurate and overly crooked, and Michael Clarke Duncan and Patricia Vonné are not at all into the topic. The rest of the characters are better: Devon Aoki falls short only a little, blue-eyed Alexis Bledel compensates for the incomplete correspondence of the role with his own beauty, Clive Owen is good, but could be a little pumped up. As a result, unlike the first part, only Benicio del Toro and Rosario Dawson were ideally cast here, and the second had to have a nude scene, but she, of course, did not undress. The rest of the censorship was still not: and beating women, and swastikas, and blood ... but that’s not the main thing in the film? Rating: 6.
"That Yellow Bastard" - film adaptation of the fourth volume, which for some reason put in the beginning of the film. Michael Madsen is unexpectedly different from himself, but coped with the role perfectly, as did Powers Booth. Bruce Willis is not as epic as John Hartigan, however, if you move away from appearance, plays decently. Nick Stahl again does not really fit into the image externally, but perfectly plays the yellow bastard, however, in one of the most disgusting scenes he was still dressed. Mackenzie Vega looks more like a young Nancy Callahan than a young Alba. Actually, the main problem is that Jessica Alba is not Nancy Callahan, she is not so beautiful, she has much smaller breasts, and this kills the meaning of one of the for some reason quoted phrases and, at the same time, she does not even undress in the right scenes. Otherwise, changed or omitted a few quite interesting moments, but such deterioration as with the removed reference to the Spartans was not, so filmed still good. Rating: 7.
"The customer is always right" - film adaptation of the third story from the collection "Laughter, chicks and bullets". The first part is both an excellent introduction to the film and an impeccable film adaptation. Both Josh Hartnett and Marley Shelton are perfect for their characters. The second part is a screenwriter improvisation, but it's even better because it corrects the ending of "The Upper Class Massacre." Rating: 10.
First, it is a black and white gamut in which the film is decided (it also solves the comic, which is the primary source). The highlight of the ribbon here is in well-placed color accents, such as blood (and that, not always), red dress, yellow freak skin. They look very organic and do not resemble somehow processed with the help of the editor “Photoshop” photos.
Second, it feels like the viewer is inside a comic book. Not just a film adaptation of events, but the feeling that you are not watching a movie, but licking the comic book. These are large internal monologues, which are characteristic of this series, and episodes in the local black and white solution. The comic is alive! And that's brilliant!
Third, the atmosphere. The atmosphere is so powerful that you realize that this city will not save anything. His sinfulness literally spills out of the screen, and you feel it with every cell. Speaking of the atmosphere, one cannot but speak of music. It further highlights the sinfulness and sad fate of this city.
Of the characters, I would like to mention Kevin-Eater (Elijah Wood). All the characters are good, but this one in particular. In appearance it seems inconspicuous, there is nothing sinister in it, but this is only at first glance. The character's perception, at least for me, changes when Kevin's glasses are filled with white and we can't see his eyes. The image becomes wildly frightening, maybe even some mysterious, and you absolutely do not know what to expect from this person.
Finally, a few words about the opening credits. I really liked the move with the presentation of the character, how he looks in the source (comic). It is possible to compare how successfully managed to embody a graphic image in life.
This is truly the best comic book adaptation I've ever seen.
Noir as a visual art has always been close to me. Now, when all the concepts and terms are mixed up in a solid mess, it is difficult to understand anything. But noir has never lost its clear distinguishing features. A man like Frank Miller knew what it was and what it was eaten with, so he saturated his comic books with it. Comrade Miller’s creations are unlikely to ever fall into my hands, but I wouldn’t mind seeing his work with Robert Rodriguez a couple more times.
After all, in general, “Sin City” is a unique case in the history of cinema. When talented people, taking the comic as a primary basis, transferred it to the screen without modifying, but miraculously translated into film language, consider it as if they just photographed the illustrations and placed them on the screen, managing to make all this Cinema with a capital letter.
“Sin City” you can flip through the minutes, print each frame and hang it in your room to enjoy the beauty and perfection of the picture every hour. And for God’s sake, one should not look for any depths or philosophical thoughts in these paintings – this is a very bad thing, and moreover, unnecessary.
After all, what else is needed when the noir opens in its pure form, breathes on you the cool breeze of the dark and narrow streets of the gloomy city. When there are old houses, old cars, steam rising from the ground, strange diners with neon signs, black sky and heavy rainfall, hitting not only the protagonists-antagonists of the picture, but also on you.
The characters are even more magnificent and deserve a monument in bright white, as is their blood, marble. Everywhere in the city of Sin, where Frank Miller and Robert Rodriguez dragged you, you can meet murderers, mobsters, corrupt policemen, maniacs, honest detectives, and, when you meet them, you can smell their long leather cloaks. And after driving to the old town, encounter women of murderous beauty and feel the look of death when they are furious. It is a gloomy, oppressive, scary and black but frantically attractive world. The atmosphere of the tape stretches far, far away in Sin city, and does not let go to the final credits. And it is perfect, extreme and unique.
And every hero in this city becomes almost a native. Well, can't you get Hartigan? When Bruce Willis, with the tormented face of John MacLaine, drives to his final case. Poor guy, he's got a bad heart. Or Dwight, with cold prudence, restoring justice? Or Marv, with the hard-to-recognize face of Mickey Rourke, who will kill and cut everyone and everything for revenge for Goldie? All of these, and many others in Sin City, deserve to be remembered and their enemies killed. Among other things, the thoughts of these people appear before us in the most beautiful monologues and dialogues. And the voices of each of them must be heard, understood and felt, otherwise it will not work. Voices, voices, voices, in their originality, not destroyed by such an often inept and unnecessary thing as voiceover, can be recorded separately and listened to again. To get cold from Dwight's voice, to feel the melancholy of Hartigan's voice, or to be hypnotized by Marv's voice, Mickey Rourke's, so special and soulful.
And as an addition to the already excellent film is a sea of blood and blackest, blackest black humor. The heroes of the city of Sins are not distinguished by peacefulness, they will kill anyone who gets in their way, using all kinds of improvised means - saws, knives, pistols, hammers and other cute things for murder. If the hero does not have them in stock, then his own hands will go into action, regularly pulling the heads of bad guys from the shoulders, and someone even has cannibal claws with teeth. Blood splashes in all directions from severed hands, heads, legs and trunks, the blood is juicy and white. And it is flavored with excellent humor, black, gravel and very funny.
You can talk about each of the residents of Sin city and about him for hours, and about the actors who played them for days at a time. Here, each perfectly suited his character and disappeared into it. But why talk about it when you can see it and see it again? Because Sin City is a unique movie.
From the film adaptation of comics, viewers are always used to waiting for some multimillion-dollar blockbuster about the adventures of a superhero, not really taking such films seriously. Talented Texas director Robert Rodriguez, whom the public loved for his gangster tapes “Desperate” and “From dusk until dawn”, in 2005, the year was born “Sin City”. Cinema, which managed to prove that, in the opinion of an ordinary layman, low-grade reading, like comics, can claim the title of high art.
And Rodriguez did not just shoot a comic book adaptation. He literally turned this comic book into reality, almost perpetually transferring it in film language. There is something typical of Rodriguez in this unique film, like the style of staging many scenes and camera angles, and in the dialogues, despite the fact that they are, in general, borrowed from the original source, there is a clear influence of the works of Quentin Tarantino. Interestingly, Rodriguez also invited Mater to his film to stage one of the scenes.
Sin City has a unique visual style. A typical black and white image here is adjacent to conspicuously painted objects, one way or another important for the history. The blood here can be bright red, white, and sometimes even yellow, depending on which scene it will look most spectacular. The heroes look even more grotesque here. Marv, who has unnaturally angular features, as if emphasizing his "dubolom", primitive nature. A person used to solve all issues by force, or simply born in the wrong century, as Clive Owen’s character accurately notes. Even more “comic” here is a cold-blooded maniac Kevin performed by Elijah Wood. His image of a silent man-eater psychopath who came from the other world looks indescribably sinister. Or here's Senator Roark's son, a rapist and a pedophile. Its authors completely painted yellow, perfectly conveying its external and internal disgust.
The narrative structure of the tape also begs for comparison with Tarantino’s masterpiece “Pulp Fiction”. Here we also have a few stories, shown to the viewer not in chronological order. And one of the novels shown at the beginning may suddenly interrupt and continue only after the end of the others. It all begins with a prologue that tells a small story of a hired killer. The same character also appears in the epilogue, as if putting an end to the entire screen action.
In other stories, we are much more familiar with the city itself. In the film, it is almost a hell on Earth. He is merciless, he is full of dirt and vice. You don't often find justice in it. It is as dark as the souls of its inhabitants, most of them notorious scoundrels. But still, there is a place for people capable of good, fair and high moral deeds. And after all, the heroes of the tape make them not for nothing, but in the name of Women. Someone out of revenge, someone out of love, someone out of gratitude. But all for the sake of beautiful ladies.
Take Marv, played by Mickey Rourke. A loser, a criminal and a drunkard, outwardly so unattractive that he can hardly hope to even pay for sex. And yet there is a beautiful woman who shared a bed with him – Goldie. She's killed and hanged on Marv, and he wants revenge. Simply because I am humanly grateful to Goldie for giving the loser the best night of his life. But, having committed revenge, he is unable to overcome the City, which in the end takes its own: the hero shines execution in the electric chair. And yet he receives a kind of reward, a real consolation, when he comes to visit the twin sister of his beloved – Wendy. “You can call me Goldie,” she says.
Dwight McCarthy craves justice and, having rejected the annoying ex-boyfriend of his girlfriend, decides to follow him and his friends so that they “do not turn things up.” As a result, he gets involved in a real war between prostitutes and the mafia, but in the cycle of bloody massacre finds Love in the face of the militant Gale. They merge in a passionate kiss amid a pile of gunshots, blood and victims. The same novella also uses an unusual technique, when Dwight is driving in a car, and in the next chair sits the corpse of his enemy. He suddenly begins to speak, and not just like that, but expresses thoughts, the position of the hero.
The most emotional and poetic story in Sin City is the novella about Detective Hartigan performed by Bruce Willis. It is divided into two parts, and the second largely rhymes with the first. First, he must save a little girl, Nancy, from the hands of a rapist, who turns out to be the son of a senator. In the second - to protect from the same person already grown up girl, which he was able to love. First as the daughter he never had, then as a woman. And both parts are accompanied by Hartigan’s words: “Go, prove that you are still capable of something.”
Painfully shot, masterfully sustained, stunningly stylish “Sin City” will forever remain in the history of cinema, as an example of the perfect comic book, which absorbed all the best from the original source of Frank Miller, classic gangster and noir paintings. Undoubtedly, the best of the works of director Robert Rodriguez, also stands alone among all the adaptations of comics.
10 out of 10
I don’t know why I saw this movie 10 years after it was released. Maybe it was because I wasn’t interested in noir.
Anyway, I learned one important thing that you can't criticize hot. So, 10 years later, after the official release, I decided to write a review, when everything has long ceased, when they do not immediately shout Bad or Good. Now let's think big. First of all, I would like to note that before watching the film I recommend you to read the comics, because that is why the film was made. Here we go.
So, first novel. Hard farewell. In fact, probably the best novel. Why? Well, first of all, there is no crookedness, there is no all this melodrama, which, oddly enough for a novella for revenge killed, fortunately, does not appear. The actors played perfectly, especially want to highlight not only Mickey Rourke, but also twins, played by one girl - Jamie King - Goldie and Wendy. By the way, it was these twins that reminded me of Mona Sachs and Lisa Punchinello from Max Payne? This is not surprising, because Sam Lake took inspiration from the cycles of the novel Sin City. The script, of course, is very well designed.
The second novel, The Lubricant Massacre, seems to me perhaps the most disgusting of the three. The struggle of prostitutes against police officers. Since the inconclusive play of the actors, holes in the script and the disgusting basis of the plot is impossible not to notice, they tried to disguise themselves as noir. Unfortunately, it didn't work. I have one question throughout the novel – are the girls trying to kill the main character or are they sympathetic to him? Even after the end of the plot, I still have not cleared the full picture - prostitutes for the main character or against? Looks like Tarantino. But no, this whole masterpiece spoils everything from the script to the editing. Of course, what they do to Benicio Del Toro's head is ridiculous and Tarantino-style. But that's not enough. And besides, why is Clive Owen cheating on his girlfriend? By the way, I was surprised that the synopsis says that Clive Owen was a photographer. Only, I did not notice a special desire to photograph this hero.
The third novel should be shown separately. But we didn't. Of the three, only Bruce Willis played convincingly. I don't want to talk about the others. By the end of the novel, there is a nasty impression.
In addition, the film did not add the song The Servant – Cells. In addition, the abuse of special effects and a digital camera against the background of a 3D screen led to some irritability. This isn't the only Frank Miller movie where 3D catches the eye. It is enough to recall at least 300 Spartans. I didn’t know about the film for 10 years, but it only took me a month to analyze it. By the way, the picture is still impressive.
6 out of 10
I can’t give this film a positive rating, because only Jamie King, Mickey Rourke and Bruce Willis played well. Also pleased with the color scheme, although shot in 3D, but I said that this is not enough.
Bright action against the background of black and white noir
Frank Miller, from whose stories Rodriguez directed Sin City, is an American illustrator, screenwriter and author of a number of comic books. He is best known for his graphic novels in the noir genre. His other films include Daredevil (2003) and Electra (2005). In fact, the history of Basin City, the city of sins, began a year before the release of the feature film. In 2004, David Brocca directed a three-minute short film, Rats: Legend of Sin City. In fact, this film had little in common with the film Rodriguez, but the beginning was laid and it set the tone of the graphic component of this picture.
Sin City is an incredibly stylish film adaptation based entirely on Miller’s illustrations. The film is divided into three parts, but is based on four of his works: “The Hard Breakup” – about a man (Mickey Rourke) looking for a murderer of his beloved, “Big, Sugary Massacre” – about a mediator (Clive Owen) in the war between prostitutes and police officers, “This Yellow Bastard” – about a former police officer (Bruce Willis) protecting a girl, and after a girl (Jessica Alba) from a maniacist and a graphic story “The Client is always right”, about an elegant hired killer (Josh Harnet), which is used in the epilogue. In reality, these comics are connected only by the authorship of Miller, but in the film the characters of all four novels intersect with each other.
In order to get as close as possible to the source text, Rodriguez did not invent anything, but simply took as a basis the picture of the film a black and white palette with a minimum of shades and high contrast directly from the works of the author. Color is infrequent here, and it is not a tool for highlighting any component on which attention is focused, but shows the individuality of the characters, whether it is a bright dress, eyes or blood. Conducting his grand art experiment (and so this tape is perceived), aimed at realizing a graphic novel through and through cinema, Rodriguez invited Frank Miller as a screenwriter and co-director. In addition, Miller himself starred in the episodic role of a priest, whom Marv, played by Mickey Rourke, shoots his head after confession. And one of the episodes of the film (“Big, savory slaughter”) was shot by an old friend of Rodriguez – Quentin Tarantino. Here you will immediately recognize his hand, especially in scenes with samurai swords.
In addition to the unusual picture, there are quite bright characters and unusual types, which black and white resolution is best suited. They really love and hate. They are black and white, but not faded, and generally take a closer look at their appearance: the white cross-shaped scar of Hartigan (Willis) on the forehead looks like the mark of the chosen one, and the grotesque face of Marva (Rourke) distinguishes it from the rest of the inhabitants of Sin City. He is ugly on the outside, but honest and noble on the inside, while the people around him are attractive on the outside, and on the inside are rotten and vicious.
The villains here are also very colorful. Elijah Wood doesn’t say a word in the whole movie, but look how repulsive and attractive he is. Benicio Del Toro as Jackie Boy is just gorgeous here. These scenes, full of black humor, with his corpse mocking the killer and his head cut off, are simply something incredible. But not only is Del Toro good here, it applies to the whole galaxy of stars. Even Rutger Hauer, once a very useful actor, and now appearing in different tribunes, was here on top, although he played only in the episode.
I can't help but stop at Rodriguez's camera. She literally flies here, picking out the most ruthless moments, quite in his spirit. The scenery is practically not observed here, and all the chases of cars taking off on bumps, dizzying jumps from buildings and into the flights of stairs, are made using computer graphics at a very high level.
"Sin City" became a cult film. And it really turned out to be good and delicious. This picture was commercially successful and well received by critics. The film was shown at the Cannes Film Festival in 2005 and won the Grand Prix in the nomination “For visual sharpness”. Rourke won Saturn for his role.
She trembles like the last leaf on the branch of a dying tree. I tell her I'll save her... The silencer turns the shot into a whisper... I'll get a check in the morning.
Frank Miller’s influence on the comic book world is comparable to that of Tarantino and Rodriguez on film, so there is a momentous intersection of their creative paths. Moreover, innovations touched on stylistics and shifting accents. Since the early 80s, elements of manga and bande dessinee have appeared in his works, not to mention his innate attraction to noir. And in Daredevil, for example, there were such unusual angles, angles, light and shadows that criticism found in it visual techniques of German expressionism, by the way, strongly influenced the same noir. Therefore, do not be surprised when good becomes level with evil, when, in the style of a black film, the artist deprives superheroes of a halo, and even slightly clips his wings, plunging into the ubiquitous, familiar to everyone else darkness. “Batman” he aged 20 years and almost began to suffer from neuroses and shiza. In “Sin City” so unambiguous superheroes do not exist.
Rodriguez, who was a fan of this series of graphic novels, had to puff a lot to get the consent of their author for the film adaptation. Burned on the water blows into the water. Miller says that, “After working on RoboCop 2, he was sure writing movie scripts was like building a fire hydrant, and then someone would release dogs that would run around and pee on it.” The quality of transferring the comic book to the movie screen was so disgusting that Frank vowed to no longer work with Hollywood. However, Robert was the only guy on whom the cowboy hat sat flat, and by showing a prologue scene with Joshsha Hartnett and Marley Shelton, Rodriguez got the consent of not only Miller, but everyone he wanted.
They say the cinematic "Sin City" became a cult even before it was released. Rodriguez’s success was possible and was ensured by his unbending love for the source – he did not want to make an adaptation, on the contrary, the director wanted to almost permanently transfer the picture of the comic book to the screen. I did it as soon as technically possible. Viewing angles, mise-en-scene scenes are the same. Rapid installation takes over the rapidly soaring camera. The black and white picture here in Noirovsky contrast, gray and its shades - at a minimum. But colorization is extremely delicate - appearing in the frame only occasionally, rich colored intersperses brightly emphasize some detail: eyes, skin, hair. The main, and well-known feature, which can not be said, however, was that “Sin City” was one of the first and certainly the most successful films shot almost entirely on chromakey. I.e. almost no scenery and especially nature – all in the power of his Majesty special effect and places animated.
Paradoxical as it may seem, but not only and so many graphic decisions, as, in fact, the essence and idea of “City...” made it one of the most noticeable phenomena of cinema of the 21st century. Sin City, the embodiment of all Neonuar complexes and phobias, had a clear message. This is an ode to those old chivalric times when a man was not a sexless creature, and a woman could safely hide behind a non-flimid back. And where better to shine armor than in an environment with a medieval degree of development? Where the law is a lie, and a lie is a law, where everywhere they kill and rob without fear and shame, and prostitutes themselves defend their honor and life with guns in their hands. The message of Sin City is contained in the monologue where the hero of Clive Owen tells about Marv (Mickey Rourke): Many people think Marv is crazy. In fact, he was just unlucky. He was born in the wrong century. He would have hit an axe in someone's face on an ancient battlefield. Or in Rome to fight with other gladiators. He, Owen himself, and especially the character of Bruce Willis, who played his best role, is the type of hero that cinema has almost lost. Which carries as simple as three pennies, but from that exact ideas of "Sin City". If you want to live, fill your fists. True, life must have meaning. It only comes when there is love. And this very love should not be stingy. And if, in order to preserve it, you need to dismember someone's body, please prepare a tourniquet and a saw. Frank Miller says, “You can’t tell a good story without conflict at its core, and the best forms of conflict are sex and violence.” Both are in abundance here.