The point when a director releases a film at age 91 is that everyone thinks it is a farewell and wants to read it as his legacy, the end of a long and praised career. Few have had to deal with that perception as Clint Eastwood, the oldest of the active filmmakers.
That already happened with Gran Torino, the one of 2008 that at the time was seen as the closure of his most characteristic character: the American hero. There seemed to conclude a timeline of films in which Eastwood put his face on and which began with his Rowdy Yates of the series Rawhide, continued with Harry Calahan, that is Dirty Harry; and he reached his sublime moment with him William Munny from The unforgivables. The defects and virtues of that character seemed to seek redemption in Million Dollar Baby and, mainly, in Gran Torino and his Walt Kowalsky, the veteran of Korea and the Ford Motor Company who left his legacy (to a Vietnamese teenager, above) before the inevitability of martyrdom.
Eastwood continued to work on the figure of the hero, turning him into flesh and blood characters that went from Mandela (in Invictus) to three Americans who prevented a terrorist attack and who played themselves in The 15.17 train to Paris. J. Edgar (on Hoover), Sully about a pilot avoiding an air tragedy and had the face of Tom Hanks, and Richard Jewell on unlikely hero.
But he did not put his face back until La mula, a film whose greatest virtue was austerity and in which he played an old man who began to work for Mexican drug traffickers. Although unsuccessful, it was an interesting swan song from a director and actor who grew old in front of us.
On Cry Macho, the film that, at the age of 91, is premiering today in Uruguay, Eastwood addresses himself as an old rodeo star who, for inescapable reasons, must go find the son of an old patron who is in Ciudad de Mexico, at the mercy of a mother who has all the evils in the catalog. Although it is a mission that is clearly not as simple as it is sold, he accepts it for those things that heroes do in the movies. The little boy is, apparently, the skin of Judas and is dedicated to the unstable business of the cockfight so, seduced by the possibility of having his own horse, he agrees to cross the border and meet again with an absent father who needs it. close more for financial reasons than affective.
The film follows these two characters (and a fighting rooster named Macho) as they are pursued by a clumsy, and more harmless than he thinks, hit man in the service of his mother. It is not an action one, but a fairly predictable drama about the bond that is forming between the old man and the adolescent and a romantic interest that appears along the way. It takes place in a Mexico of a cheap novel.
The film begins very well, mainly in the scene in which the character is presented as a hero from another time, a samurai who is left without a master. As in many of Eastwood (among which are, precisely, Gran Torino and Million Dollar Baby) One of the themes is the legacy of the hero here represented in the need of the central character to teach the rudiments of the cowboy, a male and American rite of passage, to that temporary son. It also aims to be a reflection on the family and the new ways of integrating it.
With that material and in the hands of a director like Eastwood, one expected a greater effort mainly in polishing some of the platitudes that abound and clutter. It is a screenplay (originally written by Richard M. Nash who later turned it into a novel; now it is also signed by Nick Schenk, the director’s regular sidekick) that has been around Hollywood since the 1980s and once interested such stars. dissimilar like Burt Lancaster, Arnold Schwarzenegger and Pierce Brosnan.
Here the love story seems a bit forced, like the wickedness of the parents who dispute the little boy played by a certain Eduardo Minett, a soap opera actor in his Hollywood debut who does not seem up to the requirement. With the exception of Eastwood who makes the idea that we have of himself, the performances are quite linear and contribute little to the rescue of all this.
The best seems the photography of Ben Davis, who achieves isolated images more forceful than the whole of the film. That applies to the scene of the trip in which we see Mike Milo (Eastwood), giant and in communion with the earth or accompanied by a herd of horses. There is also an interesting work on her body; we see him boast of an unfit agility for his years and a firm, if ailing gait shown with revealing tracking shots. The libido that arouses in some women is, let’s say, unusual.
A reflection on how overrated the concept of machismo is (said by one of the stars who has most symbolized that in the cinema) and something about the character who is capable of hitting a couple of punches but also needs a restorative nap every so often, they reinforce that idea that something is being said.
That is squashed, most of the time, by a routine way that blurs some of those concerns. The end product is closer to some minor Eastwood film, which is still a storyteller who knows classic protocol, from the 1970s.
It seems clear, yes, what interested him about Cry Macho. He gathers some ideas from his entire filmography and allows him, at 91, to return to his recurring character. This time, however, he deserved a better movie.
Many Thanks To The following Website For This Valuable Content.
In “Cry Macho”, Clint Eastwood takes up the character he knows best – Tvshow – 09/23/2021 – nonenglishfeed