March 4th, 2017 / 0 comments

The Lost City of Z is featured in the March edition of SO FILM magazine

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Translation via Google

Darling of movie-goers, James Gray has managed to finish his most ambitious project, the door of heaven to him – the United Artists ready to run to him and less. The journey of this little delicate intelligent redhead from Queens in the depths of the jungle deserves to take stock, looking carefully at the map, to ask yourself: what exactly is the cinema of Gray?
The films of James Gray are  always characterised by a great righteousness. His movies are straight lines indeed like those of the subway tracks sabotaged in The Yards, his second achievement in 2000. That is the first rectitude, that tragic rail, that often seems to slide without to find the good turnout for change of itinerary. If there are flights, spirals of acceleration or hot flashes excitement, Gray is naturally on frames very posed and composed. And If he is a cinephile, he is empowered as a neoclassical : it doesn’t slice references, He replays them to him suffocated, macerated in the impeccable grey-brown, the greys, his photo. Strength and limited first so: that unstoppable side in elegance and also seriously. The lips are still also straight Gray’s House: not humor and little smiles at him if this is in the singular Two Lovers (2008). When Joaquin Phoenix played an endearing ninny wide shoulders, torn between two women, finally in the foreground without being mothers. Because this righteousness of Gray is of course before all male: for the most part,.his characters are the avatars of a manhood bit talky, cut off from his desires, making sure to give the appearance of a block When it is, in all likelihood, cracked everywhere. An old model, which film has worn and worn until the rope. Unable to grant the circumstances and unreadable hearts, These guys here cling to rigidity, whether conquering or scowling. We stick to a single line, and on the decreed right, persists to the end the end and when you care more, jump on another line where as righteousness Paradoxically, eventually seem twisted:  Gray men are capable of abrupt,  unexplained reversals. This s not a case of duplicity: maybe they simply lack imagination. Also uncontrollable may they seem, mad dogs most often align the family home. In these circumstances, Gray does not. He must instead state that it is inevitable who always lands him top this area grey between realism and refusal of the elucidation psychological, silence and temptation of emphasis: bullies always end by quit a big statement solemn love, at the edge of the religious revelation. The  filmmaker is too smart not to understand that This manhood there is possibly only renunciation, blindness or simply comfort. So far, Gray is itself stayed home, filming only sound New York native and family executives, In addition twice anchored in his community of origin, that of the Jews Russians. From this point of view, it is also right in the sense of honest: he does not hide homebodies inclinations. Be sincere, however, does not protect completely from the Ronron. We Own the Night (2007) in was the curious allegory: at Trac, a party animal became a COP like of other men in his family, as is it was only celebrate the strength (including neoclassical) order.

In his last film to date, The Immigrant (2013), Gray had attempted to move its lines, for a result mixed. Certainly, he dedicated himself to a heroin and was projected in the past (the 1920s), but remained in New York and the character played by Marion Cotillard, sort of prostitute Madonna, gritting her teeth during all his way Cross, was not without mentioning the standard template of males who had preceded. Woody Allen to Koh-Lanta Today, The Lost City of Z (Yes, We get there) for once a brand renewed scenery. This is not as if Woody Allen was part of Koh- Lanta, but still: Gray left to the first time New York, oscillating between England century (in the company the actors for the most part British) and especially the Amazon. The very title of the movie sounds like a program: escape of the family birthplace for a dimension unknown X, Y or Z-, desire that seems confirm Ad Astra, the next project announced of Gray, because he will venture in science fiction, and a interstellar travel. Arises in the Lost City of Z other new like the biopic of a English, military craft, Explorer Percy Fawcett: man sought, between 1905 and 1925, the remains of a hypothetical cited evidence of a lost Amazonian civilization that he baptize Z If nothing else. Righteousness Gray remains but to be so uprooted and transplanted in the jungle, She finds the strength that she reveals his quirk all Western faced with this ecosystem and the tribes Native American as Fawcett and his men Cross. The foreground of the film (a circle torches, in the forest and in the Middle night), referring to Apocalypse Now, announces a priori, one diving initiation at the heart of darkness, why not a baroque opera (the Fitzcarraldo by Werner Herzog, everything) as Aguirre, are reflected also clearly). Wrong track, we will be not in the flamboyant: Gray manages. even in the middle of the vines and Yucca plants.  to perpetuate his beautiful palette off and his correctness. Fawcett is from the same lineage that the previous characters in Gray. It is certainly physically brave, but ye knows (and unclear) not why. Sound obsession for Z is nothing: a few gossip of Indian pottery that he found during a first mission also risky that marked since, cartographer training, he was sent to Amazon  to settle a border dispute between the Brazil and the Bolivia. Return in England, this is the military priori pragmatic (and rigid as it should) claiming vehemently that there is a lost in the Amazon but also as city  the genius of the natives must be recognize as the equal of that of the West: hullabaloo among lords. During the entire movie, the exact mobile of this fad will not be decided: the ambitious Fawcett is only the means of glory, recognition social which he said Miss initially, or has there been a real enlightenment? Gray is customary law of this sort of doubt, between suspense and coup, fog and deus ex machina. Maybe it’s his How to still believe in freedom, in tag with the arbitrary. The Lost City of Z turns out be a film more stubbornness of adventure: the Amazon will be a lot of twists and turns, of indecisive encounters with Aboriginal peoples (among other things, placid cannibals) but also with of animals (which is also New at Gray), especially during a tremendously composted by sequence a school of piranhas. The film insists above all on exhaustion, sometimes boredom, often silence, always the tenacity of which to draw straight in lines the jungle the ordinary the grandiose. This that too, dug through ellipses cut with machetes, the balance of Fawcett back and forth between the jungle and England, where he has to defend its expeditions and especially to find a woman and children who are in the meantime morphed. To wonder if the real adventure is not of this side of the ocean, where to play the biggest action scenes the film (a splendid hunting hounds at the opening, an assault of the battalion commissioned by Fawcett during the first War). As always with Gray, one wonders whether he should escape or go home, except that he no longer knows h0w to distinguish his house and the great outdoors - Between this English home that he visits from far far away and this Amazonia that he better and better, who sees it and who will by pushing everywhere, in the trenches or in London smokehouses. Can we lose on a straight line? Perhaps this is Gray’s great question, which was doped the rubber sap, responds once again. Yes.
Thanks Posh.
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