Clint Eastwood, Durifer of Ordinary Heroes

CANAL + – Saturday, February 6, 8:10 am – FILM

On the night of July 26, 1996, during the Olympic Games in Atlanta, security guard Richard Jewel was found abandoned with a suspicious bag among a crowd gathered at a concert at the city’s Centennial Park. He immediately alerted police and took the initiative for the first evacuation, which could have prevented the massacre. CNN, following other media, immediately turned him into a national hero.

Three days later, however, the FBI drops its suspicions on the whistleblower. Mad about security, he was dropped from the police for suspicious zeal and was later dismissed from the university where he worked as a security guard for the same reasons he still lives with his mother, who has an adequate profile for thirty-one. Immediately, the media turns his head and nails him to the pillow. Terrible paradox for a guy who respects his country’s companies. Although his life was almost destroyed, the lawyer admits that three months later there is no evidence against him.

This editing news is what Clint Eastwood can feel Le Cos Richard Jewel. We will be moderately surprised: first Memories of our fathers (2006), almost all of his films are truly rooted in the fact that most of them celebrate the personal heroism of ordinary human beings facing an extraordinary situation. Look Invitcus (2009), American sniper (2014), Sally (2016), Ass (2018) or 3:17 pm to Paris (2018). In a crazy America, you have to find real world figures that can prove that American mythology is not dead at last in Hollywood neoclassics.

Sparks of emotion and humor

Le Cos Richard Jewel It is so strong that it emerges in the cirrhosis of human contradictions. It starts with its author. It is no secret that the Eastwood case has been thorny for a long time, and it is arguable that in itself it is so beautiful.

The firm support of Republicans, Donald Trump’s voter, interested in reactionary values, that good American Old style, At the same time, a defender of the helpless and marginalized, a profound humanist who loves individual freedom. His cinema is applicable: provocatively more or less embarrassing, while Eastwood is the undeniable author of a work of human complexity and moral ambiguity. Le Cos Richard Jewel Provides transparent demonstration.

The characters – thereby Eastwood targeting the independent and frantic companies they represent – are, at the theatrical level, a useful foil for the dual appointment of Richard Joel and his lawyer, Watson Bryant. The grief of this honest boy who was crushed by the soulless devices is allowed to humiliate the author of the film in it.

Paul Walter Hauser in the role of the first, Sam Rockwell in the second, creates an emotion that evokes emotion and humor. Eastwood’s talent, revealed by the deliberately transparent arena, has the alchemy of leading at the end of a decisive path led by two characters together, delivering with a beautiful sensibility like the rest of the place.