As I already reported on the film Le Mans 66, I like speed, especially in cinema. This impression of speed, the noise of the engines, the concentration of drivers, the growing tension between rivals. Everything I like can probably be found in quite a few racing films that I have already seen, most of them American. But what about French films? Michel Vaillant At the top, I unfortunately cannot say that French cinema is very present in this category. The main objective of French cinema is elsewhere. Until Fast.

I must say that I am quite surprised by the result. Although I do not have the makings of a Ford vs Ferrari , Fast manages to control its run to show us some mind-blowing images: on-board camera, use of drones for certain shots or even the noise of the gears, everything is there to surprise us, right up to the Formula 3 which drives at full speed in the cities, to the point of narrowly avoiding an accident with city cars at the corner of a crossroads. It's fast and the director has experience of beautiful images that go fast. The subject addressed is that of a young woman wanting to make her place in the world of motor sports almost monopolized by men. The film reminds us via a Alban Lenoir supercharged that, only 5 women have competed in Formula 1. The last woman to have attempted to participate being Giovanna Amati in 1992.

As for the character of Max, she is a woman who was born to drive at full speed, and will have only one dream in mind: to demonstrate that women have not said their last word. The interpreter who plays the main role (Paola Locatelli) is bubbly and full of life, ready to fight against prejudices. All this gives the film some energy, even if everything is not rosy and well controlled quickly.

We love the acting of the two main actors, the passage of Tchéky Karyo in the role of Stanislas's father. But all this could be marred by a film with a somewhat predictable plot. But it is true that it is difficult to do more original than two people looking into each other's eyes to see who will be the best on a race track

Although the film demonstrates the director's obvious ambition in its racing scenes, the script suffers from a lack of finesse, particularly in its opening section. The romantic relationship sketched between the two rivals, quickly abandoned thereafter, would have deserved either more in-depth development or being completely removed from the plot.

Ultimately, this work represents a true feat in the French cinematic landscape, where this genre is particularly rare. Its few imperfections should be overlooked, as the film as a whole is well worth the detour.

L’article Rapide : Une femme rebelle dans la F1 est apparu en premier sur La Piqure de rappel.

For some time now, there has been something that is no longer working in the films of Ridley Scott. After seeing Gladiator 2 with a friend, we were of the same opinion: Gladiator 2 did not inherit much from its predecessor and does not renew the genre.

As for me, when I heard about the project of a sequel to Gladiator, I was a little disappointed. Gladiator did not necessarily need a sequel because the ending was sufficient. But if you know a little about Hollywood, you are hardly surprised to see scenarios that had been abandoned come out of the closets to make sequels. This project of Gladiator 2 seemed to me to have the scent of déjà vu just by its title. In other words, it smelled of fir.

Before analyzing the film, I wanted to clarify that I have not recently revisited the original film. My approach is deliberate: my previous experiences have taught me that rewatching a first opus before its sequel can often lead to disappointment. I therefore chose to discover Gladiator 2 with a neutral and open look, without preconceptions or immediate comparisons.

As we left the screening, there was a scent of disappointment in the air. I wouldn't say we hated the film, but it lacked something that could leave the viewer in awe at the end of the screening. Of course, the spectacle is guaranteed thanks to the many battles that take place in the arena, including the naumachia.

The sets are notably lacking in variety, with the film focusing primarily on the arena, which takes up nearly two-thirds of the screen time. This spatial limitation creates a sense of confinement, which could suggest budgetary constraints. However, with an estimated budget of between $250 and $310 million, Ridley Scott had the means to develop a more ambitious staging. But I will return to the details of the production later.

Regarding the choices of the main actors like Denzel Washington, Pedro Pascal or Connie Nielson who takes over the role of Lucilla, their presence is not to be questioned. Denzel Washington delivers a masterful performance in the role of Macrinus, strongly embodying the devouring ambition of a former slave determined to rise in Roman society. His charismatic presence and his intense interpretation eclipse that of Paul Mescal, however the main protagonist in the role of Lucius Verus.

But it is especially the writing of some characters that is weak. As in recent films, Ridley Scott forgets to put some depth into the secondary characters like that of Arishat, Lucius' wife, played by actress Yuval Gonen. Her character has a limited presence in the film, appearing only briefly in two scenes, which does not allow the audience to develop a real emotional attachment to her.

But while the performances of the main actors contribute to the film's charisma, not everything is perfect. Some situations and dialogues lack naturalness and seem artificially integrated into the story, harming the work. For example, the scenes between Lucius and Lucilla sometimes suffer from narrative inconsistencies. I think there should have been fewer fights and the scenes should have been reworked so that they were better linked together.

However, the film still has some strengths. The visual effects are successful at certain moments, such as the appearance of the rhinoceros in the arena, even if the presence of the rhinoceros in the fighting arena is debatable. As for the scenes of naumachia in the arenas that I thought were historically inaccurate,they did exist. According to historians, these naumachia as they are called were present even if they remained rare because of their cost, and were only conceivable for certain arenas adapted for the occasion.

Gladiator 2 was marred by production difficulties, with filming extending from June 2023 to early 2024, largely due to the actors' strike. The script struggled to see the light of day, with first drafts as early as 2000, but no version was satisfactory. Three screenwriters succeeded one another between 2000 and 2018, and although Nick Cave proposed a bold version in 2006, it was rejected for being too radical. Numerous rewrites and internal and external elements contributed to this film being a messy project that was not mastered from start to finish.

In conclusion, I would say that Gladiator 2 is a film that offers an impressive visual spectacle and benefits from solid performances from its lead actors. However, it fails to capture the essence and impact of its predecessor. The lack of innovation, writing issues, and production constraints have led to a film that, while entertaining, does not fully meet expectations. It remains a great entertainment for those looking for action and spectacle, but fans of the first installment may feel some disappointment at the lack of narrative depth and character development.

L’article Gladiator 2 : N’est pas fils de son père qui veut est apparu en premier sur La Piqure de rappel.

There are films that give you the impression of a unique cinematic experience, that offer you another reading of a well-known societal phenomenon: the cult of the body. The new film by Coralie Fargeat, offers this singular and disturbing vision at the same time.

Through a gripping cinematic experience, the director deconstructs our collective obsession with physical perfection and offers a new perspective on this societal phenomenon. Her unique visual approach transforms a familiar subject into a work that disrupts our usual perceptions, using the prism of the 80s fitness industry as a mirror of our contemporary societies.

The aerobics sequences are filmed with occasional close-ups of certain parts of Sue's body, showing how superb her body is. In fact, these shots are reminiscent of perfume advertisements as the camera revolves around the actress with a polished aesthetic. The director skillfully uses a pulsating electronic soundtrack to accompany these close-ups, creating an atmosphere that is both glamorous and slightly disturbing.

The leitmotif "the best version of yourself" that resonates throughout the film like a toxic mantra, is also used in everyday life by some life coaches to tell their clients that you have to be perfect to succeed in life. Perfect in excellence, with the goal of the cult of beauty as the only criterion for success. This is also quite well shown in the film through the character of Dennis Quaid who seeks to renew the main presenter of an Aerobics show, finding her too old.

At 61, Demi Moore delivers an intense physical and emotional performance, courageously questioning the beauty standards imposed on women in the entertainment industry.

The film gradually falls into the tradition of body horror, the favorite style of David CronenbergLou's physical transformation, at first subtle and then increasingly disturbing, illustrates the dangers of a society that pushes women to extremes to maintain an appearance of eternal youth.

The excessive length of 2h25 constitutes the major weak point of the film. If the whole is mastered, there are one or two scenes at the end of the film that could have been cut from the editing. The final sequence, for its part, is particularly evocative: it accurately depicts our progressive erasure in a society where visibility is ephemeral.

L’article The Substance : La perfection n’existe pas est apparu en premier sur La Piqure de rappel.

This moment marks the beginning of a devouring passion that would shape his entire life. From then on, Patrice Girod began to collect everything related to Star Wars: posters, figurines, magazines, gradually becoming a true expert in this universe.

In 1990, he created his own publishing company Courleciel, named after Luke Skywalker in the original credits of the 1977 film (Bad translation which was later corrected in other versions)

This company will publish the Lucasfilm Magazine, the official Star Wars magazine in France. For more than 15 years, he will direct the publication of this magazine as well as other titles related to science fiction and popular television series.

Over the years, Patrice Girod has developed privileged relationships with Lucasfilm Ltd., attending the filming of Star Wars Episodes I to III and meeting George Lucas on several occasions. He even had the opportunity to be featured in The Phantom Menace. In addition to his work as an editor, Patrice Girod has organized official Star Wars conventions in France and contributed to the Star Wars exhibition at the Cité des Sciences et de l'Industrie in Paris. Today, Patrice Girod serves as Director of Exhibitions and Collections for ScienceFictionArchives.com and StarfixMuseum. 

Monsters and heroes of cinema

Recently, I discovered that there was an exhibition at the Galerie Saint-Jacques in Saint-Quentin. This traveling exhibition is organized by the Starfix Cinema & Pop Culture Museum and presents a collection of original pieces, including costumes, models, sets, posters and other mythical objects from films such as Star Wars, Indiana Jones, Stargate, but also films from the Alien franchise and Luc Besson's films.

So one day on vacation, I headed to the city of Saint-Quentin, a city I hadn't set foot in for almost 30 years. Saint-Quentin is a city rich in cultural heritage, and worth discovering just for its Basilica, the D'Isle park or the Jacques Chirac bridge.

Once there, the gallery presents an impressive collection of around forty costumes, objects and models from around twenty films. All the costumes are authentic and have been used, directly or indirectly, in the production of these cinematographic works. One can only admire the attention paid to these pieces, which are in exceptional condition.

As a science fiction enthusiast, I am particularly amazed by these costumes that awaken our imagination. Although it is forbidden to touch them, we can appreciate the meticulous details that are not always visible on the screen. And regarding the models like the one representing part of the Minimoys village, nothing has been left to chance.

Each piece has its own description on a sign, a description which traces the history of the costume and its place in the film.

It will take you about an hour to explore everything, and it costs just a two-euro coin. On display until November 3.

Indiana Jones Costume

Thug Costume

Leeloo Costume

Costume for the Mondoshawan

Darth Vader Costume

Darth Maul Costume

Young Anakin Skywalker Costume

Ray Ferrier Costume

Original Maraputaï costume

lost_in_space

Ben Richards Costume

Costume of Guinan

Qwark Costume

 

L’article L’exposition « Monstres et héros du cinéma » est apparu en premier sur La Piqure de rappel.

Ishana Shyamalan is a director whose last name is probably not unknown to you. Indeed, Ishana Shyamalan is the daughter of the master of the twist: M.Night Shyamalan.

For those who still don't know who it is, he is, among other things, the author of the films Sixth Sense, Unbreakable, Signs and more recently Split.

The director's first film, The Watchers takes us to the forests of Ireland where strange phenomena take place. We follow Mina, an American working in a pet store, who will have to travel to deliver a precious bird. But on his way, his car breaks down in the middle of the forest. Completely lost, she will find refuge in a bunker where three people live. At nightfall, the protagonists will have to follow a ritual to survive.

The film itself would certainly not have hooked me since it is part of the type of films that I rarely see: Horror films. But when I learned that it was the daughter of the famous director who had made it, it piqued my curiosity.

Most directors' first films are a risk for them because they have to prove their ability to make films and find their style. But Ishana Shyamalan was surely immersed in her father's films during her youth because her style is close to them.

The Watchers is brilliantly executed for a first-time director behind a camera with a style that mixes horror, fantasy, myths and legends. All these styles intertwine harmoniously.

The action takes place in a dark forest which comes alive at nightfall. In this style, it could be similar to the Blairwitch project because the camera almost never shows the origin of the ambient noises, leaving the viewer to their own interpretation.

The fear of the dark or also called nyctophobia, we all faced it when we were younger. The fear of the unknown, the fear of not understanding what is happening in front of us, when our eyes see nothing and only our ears can interpret what is happening. This is the whole point of this film which in its first part plays with our senses.

Another point in common with the cinema of M. Night Shyamalan is the impression of slight strangeness in the words of the three protagonists who come to welcome Mina into their Bunker. Accompanied by a distressing and oppressive atmosphere, the questions that Mina asks herself will find their answers in a natural way without us being lost in the explanations. On this point, The Watchers surpasses Hypnotic , film directed by Quentin Tarantino's accomplice, Robert Rodriguez.

Like any self-respecting horror film, there are inevitably moments where the viewer is startled at the moment of jumpscares. If for me, this technique no longer scares me because I often find it predictable, I find that Ishana Shyamalan is innovative in her way of capturing fear. In this film, these are no longer tight shots on a bruised face. She uses nature, animals and even the environment to scare us. Just like the anamorphic silhouettes that we see approaching little by little.

There is no doubt that CGI had to be used in certain scenes, because the movements of the creatures are prey to doubt. But make no mistake, it can be practical effects and disguises as well as in the film The Last Journey of Demeter, where the vampire was nothing more than a skinny actor in makeup.

In the main role, we will find Dakota Fanning that we could see in the masterful interpretation of this young girl in the film War of the Worlds. But Ishana Shyamalan also surrounded herself with experienced actresses for her film, sinceOlwen Fouéré (The Northman) and Georgina Compbell (Black Mirror, Bird Box: Barcelona) are part of the cast. Overall, the actors are well directed and the writing of the characters helps with their interpretation.

The film progresses steadily in the plot and the film is never too long. The mysteries of this forest are revealed little by little and give substance and rhythm to the film which can be watched without ever getting tired.

The film's soundtrack is well tuned with violins and lyrical singing which accentuate the dramatic and distressing scenes. This makes me think even more of Scotland.

There would only be one thing to criticize about the film, it's the moment where things take a turn: The car breaks down. The scene is a bit conventional and falls a bit like a hair in the soup. We don't really know how and why it breaks down without there being a phenomenon to explain it. But that said, the scene is quick and we move on.

For a first film, it's very successful from a young director. We will have to follow it closely because it may have some surprises in store for us in the future.

And one thing leads to another, Night Shyamalan will release his next film in August under the name Trap, the trailer for which seems to bode well for us.

L’article Les Guetteurs : Ne tombez jamais en panne dans les bois est apparu en premier sur La Piqure de rappel.

Genesis

It only took me 3 evenings to watch the entire series.The Tick. The series is made up of a first season of 12 episodes and a second of 10 episodes (25 minutes on average per episode), this series immerses us in a universe of superheroes, each more zany than the last. The Tick tells the story of Arthur, an outsider accountant who realizes that his city is in the hands of a supervillain, The Terror, whom he thought was long dead. To fight The Terror, Arthur will join forces in spite of himself with a superhero named The Tick, for worse and for better.

History of the series

This superhero about whom I knew nothing did not appear with Amazon Prime, since the hero in the blue tights dates from the 80s. Created in 1986 by the cartoonist Ben Edlund, The Tick is inspired by superhero comics from the 1960s, with their caricatured characters and absurd situations. Inspired, Ben Edlund will make him a naive, innocent and clumsy hero, who believes in good and justice. A few years later, the author decided to develop the character in a series of comics in 1987.  

In 1994, it was the turn of the small screen to take possession of the tick in a cartoon broadcast on Fox. The animated series will be a critical and commercial success. It will be entitled to 3 seasons for a total of 36 episodes.

It was in 2001 that The Tick returned in the form of a television series with the main roles Patrick Warburton (The Disastrous Adventures of the Baudelaire Orphans, Malcolm and Code Quantum) and David Burke (Nashville, Chuck and Bones). We will also find Arthur's boss, played here by Christopher Loyd (Back to the future). It is in this series that Ben Edlund will introduce the character of Arthur Everest, a clumsy and shy accountant who will become the tick's sidekick. The creator of the series wanted to be the most faithful to the comic book. But despite Ben Edlund's good intentions and positive reviews, the series had difficulty finding its audience across the Atlantic and it ended after 9 episodes.

Amazon prime

Looking for several years for a solution to revive The Tick, Ben Edlund approached Amazon Prime. He sees it as an opportunity because superheroes in cinema are booming. This created a demand for original series on this theme. “The Tick” proved to be a wise choice to meet this demand.

The Tick will arrive on Amazon Prime which is the broadcaster and producer with Sony Pictures. We find there in the role of The Tick Peter Serafinowicz, and in the role of Arthur Griffin Newman.

What do I think of it

When I saw the first episodes of the series on Amazon Prime, I thought it was a bad joke. With its Hero Corp humor, kitsch style and costumes, the series seems at first glance a failed attempt to ride the wave of superheroes. But after a few episodes, we remain glued to the chair to follow the wanderings of our two heroes. We don't really know why, we have the impression of a series developed by fans but with a comfortable budget when we see the sophisticated costumes. The antagonists are more caricature than anything else and yet we get carried away. But if we look closer, we can see that this series is the most accomplished of all the adaptations, and perfectly in keeping with its time.

If the first season is based a lot on humor that is a little heavy at times, the end of the first season takes a rather pleasant direction. This will be confirmed in the second season with a slightly better-crafted plot and better-balanced humor. With the end of season 2 open, I think it was planned for her to return for a third season. But the creator, Ben Edlund, announced on Twitter in May 2016 that the series would stay there:  

“I am sorry to say that Amazon has chosen not to pursue @TheTickTV. I'm not sorry to say that I love this series, its cast, its story and its message. Destiny demands that my compatriots and I now seek a new home for this series. » 

If Ben Edlund does not specify Amazon's motivations for stopping production, we can nevertheless have some clues: The series was expensive to produce (50 million dollars for the first season), Amazon considered in view of the audiences, that it would not be profitable in the long term. 

It's a shame because the series received numerous Emmy Award nominations in 2019: One for stunt coordination managed by Chris Centiempo, and another for the main theme. Since the end of the series, Ben Edlund has been looking for solutions to keep his creation going. In 2023, the creator of The Tick published a novel that was praised by fans for its humor and action. 

With an annoying season 1 for its omnipresent humor at the expense of the plot, the series managed to raise the bar in season 2 to end in apotheosis with a final episode which leaves us wanting more. 

L’article The Tick: Une série super-loufoque  est apparu en premier sur La Piqure de rappel.

No one can ignore – especially in France – the impact of Henri Grouès, better known as Abbé Pierre, on French history. No one can forget him because he is the one who will create Emmaus with Lucie Coutaz, after having fought tooth and nail to have the necessary resources to accommodate the homeless during the winter of 1954. One of the deadliest winters, because for 3 weeks, the temperature will be harsh with a feeling of -30°. This extremely empathetic man was never satisfied with what he accomplished.

Abbé Pierre: A life of struggle tells the life of this man of the church from the time he had to leave the Capuchins until his death in 2012. It is therefore his entire life which is retraced in 2h18.

I saw the film for the second time, to my great delight. I hadn't seen the first biopic released in 1989, with Lambert Wilson in the title role. . But according to the trailer forHiver 54, l'abbé Pierre, I can only say one thing: Benjamin Lavernhe's acting performance is absolutely magnificent and far surpasses the acting of Lambert Wilson who struggles to be charismatic.

Benjamin Lavernhe is an actor that I first discovered in The Sense of Wonder and which had already surprised me in its time. This film, in which he starred alongside Virginie Efira, dealt with Asperger's syndrome.

As for the Frederic Tellier biopic, the acting direction and makeup add authenticity to the main character to the point that we no longer see the actor behind the mask. The tone of voice, gestures and gait are illusions for the viewer.

In terms of photography, nothing stands out and each shot is chosen for a good reason. the film has a contemplative dimension: the camera stares at certain objects and settings for several seconds in silence as if time were suspended. It is throughout the film that we will be able to observe this process which does not weigh him down in any way, but on the contrary will allow us to take a break from the struggles of this man of the church. Moreover, the first shot of the film tells us where the feature film is going to take us: We see a very beautiful starry night, with a mountain in the background on which a man stands and looks into the distance. The moon barely lights his face and a well-known voice-over tells us about Abbé Pierre's concerns. This magnificent scene – as well as the last shot of the film – is filmed in a graceful and peaceful manner. The quality of the staging makes us feel the director's fascination with his main character, played by Benjamin Lavernhe who plays him masterfully.

All these positive remarks lead me to think that French cinema is far from having said its last word and that certain directors know how to take risks, while certain American blockbusters fail to reinvent themselves.

In short, Frederic Tellier's film is for me a vibrant tribute to its main actor who surpasses himself.

Sources

• Winter weather 54
• News 8 p.m.
• Call of February 1, 54
• Press conference
• Benjamin Lavernhe's favorite archive on Abbé Pierre

L’article L’abbé Pierre, une vie de combats : Un hommage émouvant est apparu en premier sur La Piqure de rappel.

Released December 8, 2023 on Netflix, Leave the world behind is adapted from the novel of the same name by Rumaan Alamest.

The film is directed by Sam Esmail who worked on the series Mr Robot who had praised the canvas. The film tells the story of a couple who want to take a break and decide to rent a house for a weekend. But once there, strange events will happen one after the other. This film brings together actors known as Julia Roberts, Ethan Hawke, or Kevin Bacon in a supporting role.

The film is reminiscent of style Night Shymalan in the sense that it combines subjectivity and strange events following one another without any apparent connection. One of these films were The Happening. Night Shyamalan then played on the ambiguity of situations to lose the viewer and put him on the wrong track. But The World After also makes us think of another film by the master of suspense: Signs which reinvented the science fiction and extra-terrestrial invasion film by focusing on the fear of the protagonists in the face of a situation that was beyond their control. Anxious atmosphere is one of the appreciated features of the film.

In the world after us, the main characters feel just as destabilized by a situation that has nothing in common. The Stanford family no longer has access to the communications network: the Internet and landline and mobile phones no longer respond, and therefore cannot contact anyone. Even the terrestrial radio no longer works and it is therefore impossible to get news from outside. Something is wrong and it's worrying. The owners will reinforce this thesis by coming to see their tenants to try to make them understand that they are better off and safer in this house. Which will add a little more mystery and questions about what is happening around them.

I really enjoyed the film because several themes are covered. Dependence on technologies, solidarity but also the survival instinct. Two characters reflect one of the aspects of the film: anxiety and paranoia. Amanda Standford (Julia Roberts) and Ruth Scott (Myha'la Herrold) are portrayed in the film as people who are wary of appearances.

The film is also not simply a disaster movie (if it can be called that). He explains to us that in such cases, it is important to come together so as not to sink into chaos and panic in the face of a situation that is beyond our control. To be able to trust ourselves because society requires us to stay on our guard and only trust ourselves. To the point of becoming paranoia in some people. This is the strength of this film which does not give pride of place to explosions like in the films of Roland Emmerich. Here, everything goes through the psychology of the characters.

Dependence on technology is also addressed in this film which shows us that we no longer know how to do without it. How can we then react accordingly if we no longer have a way of getting news from the outside world?

The film was produced by High Ground, a production company founded by Barack and Michelle Obama. Barack Obama who had already produced animal documentaries for Netflix. If the former president was able to instill his vision of things for the film, I would still have a comment to make about the ending of the film: It leaves us wanting more and could have had a more developed ending. But despite some small flaws, the film remains above most Netflix productions. So watch.

L’article Le monde après nous : L’union fait la force est apparu en premier sur La Piqure de rappel.

L’article 404 est apparu en premier sur La Piqure de rappel.

Foreword

Most cinema biopics tell the story of a period in history. These kinds of films like to announce that the film is “inspired by a true story”. If there was an experience, there are logically testimonies and documentation on the subject.

I am therefore going to do a little history on the conquest of America, where many suffered from these colonizations and talk about their transposition to cinema. But if you prefer to skip straight to the review, you can go straight here to get my My opinion.

The sad history of Native Americans

In our childhood, we all had history lessons during our school period. Courses in broad terms that required us to go beyond appearances so that we could immerse ourselves in books.

From my experience, the more the years pass, the more the lessons I have had evaporate over time, retaining only the essentials. That doesn't mean my memory is failing. But because the history teacher I had couldn't or didn't want to give too many details. Certain periods of history being quite dark, they are not mentioned to children aged between 8 and 14 years old.

There have been major events in history that still have repercussions today. The period of history that interests us here and that of America which was founded on human disasters.

When Christopher Columbus believed he had found the Indies, he did not yet suspect that his discovery would provoke wars for the domination of territory, spices and gold (between 15th and 16th century). The conquistadors, attracted by gold, caused millions of victims, particularly with the conquest of Mexico and the Inca empire.

Between the 17th and 18th centuries, there was an expansion of European colonies in North, Central and South America. Several countries will be added to Spain and Portugal: France, England, the Netherlands and Sweden. The great European powers will compete for control of America's natural resources and markets.

It was in the 18th century that there was a real struggle for the independence of the American colonies. The United States of America, Mexico, Central America and South America will get it in the 19th century.

The colonization of the Americas by Europe, having brought with it diseases, technologies and different cultures, will have a profound impact on the indigenous populations,

Concerning the Native Americans of North America, 3 wars were particularly deadly:

• King Philip's War (New England) between 1675 and 1676
• Yamasees War (1715-1716)
• Pontiac's War (1763-1766)

To learn more about these wars, go here

This dark and sad story of the conquest of America has often been brought to the cinema. In most films until the last 3 decades, Indians were depicted as bloodthirsty savages scalping their victims. Films essentially based on the knowledge of the time, conveying a bad image of Indians, pointing the finger at them. Films were there to show a certain truth, a bit like our history lessons.

This representation in cinema of the legitimate white man heir to lands previously inhabited by the natives, was born in 1930 until the end of the 1950s. This period is marked by the emergence of the western as a genre in its own right. The films of this period are traditional westerns which show the conflicts between white settlers and Native Americans. These films have a spectacular setting with heroic characters. The Fantastic Ride (1939), Shane (1953) And The Magnificent Seven (1960) are among the most notable films of this era.

Then came the twilight western period (1960-1970) which highlighted dark and violent films. The first of this era will be For a handful of dollars (1964). It was during this period that the spaghetti western emerged. In this category, we can cite The good, the bad and the ugly (1966), Djando (1966) And Once upon a Time in the West (1968).

Finally, the post-modern period which begins from 1970 and will continue until the end of the 2000s. This period is a turning point in the western genre, since it will allow the convections of the established genre to be questioned. They are essentially revisionist films. The Good, the Bad and the Ugly (1966), Ruthless (1992) And Open Range (2003) are among those.

During the 1990s, awareness arose and many countries recognized this massacre as a crime against humanity.

It is in this context that films like Dancing with the wolves (1991) made their appearance. Dances with Wolves is a film by Kevin Costner who was his first attempt as a director. Dances with Wolves will thrill viewers for its storytelling. It made a big noise because it went against what we had seen before. He is described by critics as humanist, astounding, advocating tolerance and understanding of cultures. Kevin Costner will also receive 7 Oscars for this film the same year.

Several films will ride on the success of Dances with Wolves, but without ever really matching it. The Last of the Mohicans(1992) is a good example since despite his qualities, he will be criticized for caricaturing Native Americans, portrayed as cruel and bloodthirsty savages.

Little by little, the films are moving away from their very colonialist and caricatured representation of native Americans to move towards something more authentic.

But this golden age of the western has been relegated to the background today. Tarantino's latest film,Once Upon a Time in Hollywood tells us in a colorful but splendid way the end of the traditional era of westerns, through the story of an actor whose career is in decline. Certainly one of the director's best films.

Martin Scorsese

I love historical frescoes in cinema. These films that delve into the entire life of a character. Laurence of Arabia, Once Upon a Time in America and many others. These films were able to conquer their audience with their content and their characters. If a film must last this long, it is because it has the duty to tell something in detail and in an intelligent way without boring its viewer. So it’s a real balancing act.

One of the few who still knows how to do it today is certainly Martin Scorsese. With more than 64 years of career under his belt, the director, now 81 years old, has shown more than once what he knows how to do in terms of cinema. In addition, he is part of a line of directors who still shoot in the old-fashioned way today, meaning that he often relies on natural settings to immerse the viewer. What is also remarkable in the maestro's filmography is his mastery of direction and, above all, constant quality of his films. And with the years that pass, we can now say that he no longer has anything to prove, proof with his latest film.

Killers of the flower moon

Killers of the Flower Moon is Martin Scorsese's latest historical film released this year. This is not his first historical film. Casino, Gangs of New York or The Irishman were already films based on true events.

The story he tells in this film is based on a book by David Grann titled The American Note (the original title is Killers of the flower moon). Grann had to investigate for 5 years to find the testimonies of Osage grandchildren and great-grandchildren on facts dating back to 1920. This unknown history of America was made public thanks to the publication of this book in 2017. At the beginning of this twentieth century, the Amerindians had not yet reached the end of their suffering after so much hatred directed against them. But if from the 16th to the 19th century, it was a question of extermination of Native American peoples for their territory, this history of the 20th century is largely based on resources and discrimination against these people.

The Osage, forced to cede their native lands, Missouri and Arkansas, at the beginning of the 20th century found themselves entrenched in an Indian reservation in Oklahoma (under the Medicine Lodge Treaty) of 1400 square meters. The reserve is based in an arid and inhospitable region. The Osage have struggled to adapt and face discrimination. In 1897, they discovered oil on the reserve and found a way to turn it into wealth. But the white settlers heard about it and began to exploit the Osage and their lands, using more than questionable means: stabbing, poisoning, arranged marriages to kill the woman later and inherit, nothing would be spared. A total of around sixty villainous murders will take place in order to rob them of their money. An investigation by the future FBI will take place and justice will be done in 1922.

The Osage killings are a tragic example of the violence and exploitation that indigenous people have suffered in the United States. It was therefore important for Martin Scorsese to be able to remain as faithful as possible to the history of the Osage.

Authenticity

Scorsese didn't do things by halves to Killers of the flower moon. He first read David Grann's book, then traveled to Osage lands. Finally, and because without them nothing would have been possible, Martin Scorsese met for several hours with several people directly or indirectly linked to the case, including:

• Charlene White Eagle-Williams, a descendant of the White Eagle family, who was one of the first victims of the "Moonflower" murders.
• Billie Jo HorseChief, an Osage historian and activist, who helped Scorsese understand the history and culture of the Osage people.
• Clyde and Wilma Ellis, an Osage couple who told Scorsese about their memories of the murders and life on the Osage reservation in the early 20th century.

Scorsese wanted to be as close as possible to the story and often came back to see them to enhance his scenario, even attending certain Osage ceremonies.

The result is there: Scorsese going for surgical precision when it comes to telling the story, paying homage to the Osage in a very beautiful way. It is striking to see that the film redraws every detail of this period on the big screen. Ranging from the unexpected enrichment of these Native Americans via luxury objects, white people and gambling or even the chiseled characters of the characters, nothing is missing from this film whose photography is beautiful even at night. This is a change from night shots filmed with a blue filter.

The sets and photography

Just like his mastery of telling his story, Scorsese's camera films filthy and dusty settings immersing us in a genre that the director had never experimented with: The western. But it's because he knows what he wants to film that it seems so real, the filming having taken place on the Osage reservation in Oklahoma. color grading gives a natural tone to everything.

The characters and actors

The terrible tragedy of the Osage is closely linked to the misdeeds committed by Ernest Burkhart and his uncle William Hale on this tribe.

William Hale was well known among the Osage for donating to charity and being loyal. Robert De Niro's interpretation of Hale makes him a real monster, devious and manipulative. Because if Di Caprio's character is loyal to his uncle because he found a job despite his poor skills, Hale will not hesitate to manipulate his nephew to obtain every last dollar. Employing all possible and imaginable means that a human being can imagine to achieve his ends. De Niro making Hale someone cold, greedy and unscrupulous. And the message comes across wonderfully on screen. I had never seen such a detestable antagonist in the cinema. De Niro will say in an interview dedicated to Critqal not understanding William Hale's behavior, not understanding how and why he did so much harm to this community.

As for his nephew played by Leonardo Di Caprio, he is portrayed as a person with a low level of education having finished his military training, looking for fortune thanks to the oil fields. It was then that in 1912 he joined his uncle who gave him a job. Not suspecting for a moment that his uncle's goal of marrying him to an Osage woman was to inherit his fortune when he died. Di Caprio plays a complex and ambiguous role, whose true motivations will be difficult to pin down. Playing on two levels, we feel he is execrable, plundering the dead of their wealth while shamefully trying to reassure his wife Mollie Kyle Burkhart.

Mollie Kyle who is played by Lily Gladstone. Originally from the tribe of Nimíipuu and Picunis , this Native American actress will leave the Blackfeet reservation to take theater classes. She will not be the only Native American to have been hired in Scorsese's film, since many other people of the same origins will be taken for secondary roles like William Belleau (Henry Roan) or Atanka Means (Agent John WrenWren) who is from of the Osage tribe. Always with a concern for authenticity for the director.

Lily Gladstone plays a Mollie Kyler who lets herself believe that Ernest Burkhart is different despite her sisters' warnings. But she is not fooled by the intentions of her husband, who is a white American like any other, who has come to seek his fortune. But for her, he is in no hurry. Lily Gladstone's interpretation is just magnificent. We can guess his thoughts just by seeing, in his non-verbal expressions or the words expressed in English or the Osage language.

The Osage language

Indeed, unlike certain films or series where people use the same language to communicate with each other, Scorsese made the effort to reteach the actors who needed it the use of the original language to better fit the character. Indeed, the Osage speak a Algonquian language which is threatened with extinction today. So it took Lily Gladstone months of rehearsal before she could speak Osage correctly. Just like it is for Robert De Niro and a few others.

Scorsese wrote and directed a story as it was experienced, without filters, in a raw way. The series of murders perpetrated are represented on the screen without moderation, putting the viewer to torture. But knowing the way Scorsese films violence, this is hardly surprising.

As I said above, the work on Killers of the flower moon was titanic to be as close as possible to reality. The film may seem harsh at certain moments, but I think it was essential that it be so to impact the viewer who is not familiar with this episode of American history.

I think films have this duty to preserve history when they are well written and directed. For my part, this film taught me one thing: Whatever the eras, man has always been hungry for power and sought to dominate others on a more or less large scale. He can commit the worst mistakes as well as the best actions, and have the worst intentions in order to appropriate what does not belong to him.

This film particularly moved me and still today, it is the one that deeply marks my attachment to the history of the Native Americans and in particular the Osage. A situation that comes close to being slowly exterminated out of greed. I don't have words strong enough to express and characterize the type of humans ordering this kind of atrocity. At times, this film made me think of the worst moments in our own history.

This is why I put so much effort into writing this article: To go beyond the film and seek out as much information as possible about what happened at the time. And my next bedside book to complete my research will be David Grann's book which is quite affordable.

This film mixes traditions and modernity, Indian traditions and modernity brought by the descendants of the settlers. But even if jealousy of others exists in all cultures, here it is multiplied by ten and imported among people who only wanted one thing: to escape their poverty to live better.

And here, Scorsese succeeded on all counts, making us think about human nature.

Sources and Inspirations

• “The American Note”, David Grann’s terrifying masterpiece
• Did the United States commit genocide against Native Americans?
• Press conference – VF – Cannes 2023
• Christopher Columbus, a real tyrant?
• Osage County OK Killers Flower Moon
• The Osage murders and “Killers of the Flower Moon”

Many thanks to everyone who supported me in writing the article.

L’article Killers of the flower moon : La tragédie oubliée de l’histoire est apparu en premier sur La Piqure de rappel.