Good advice: do not come with me to the cinema at the moment. Learn to know what movie I see, and where, in order not to find yourself in the same room as me. Right now, it seems that I jinxed. A few days ago, was before Arrietty , the newest Studio Ghibli, with a fight live in the room, the projection was disrupted. Monday night, my week began without violence, but also in areas of turbulence before a large screen. If I were superstitious, I would start asking me questions ...
was at the UGC Ciné Cité Bercy. I came with two friends to see The Green Hornet , transposition film by Michel Gondry (the director) and Seth Rogen (the screenplay, production, and in front of the camera) of the legendary superhero The Green Hornet, particularly of after a television series that revealed Bruce Lee decades ago. Despite a 3D that can be guessed even before seeing the film unnecessary excitement was de rigueur at the idea of seeing this film long overdue. The prospect of seeing the greatest screen cinema, ideally placed in the room as we were, presaged a good evening. This was the case, but with a strange stuttering in the introduction.
The meeting was at 19.45. When that hour comes, as expected, the screen comes alive. While everyone is still in discussion in the room and the flow of viewers continues to enter the Columbia logo appears with the blur of 3D. "Ah! A trailer 3D "I exclaimed, pulling the glasses. "They could turn off the lights for the trailers." A boy playing with a figurine super-heroes through the rear window of a big car appears on the screen. Few tens of seconds later he is in a large office with a rejuvenated Tom Wilkinson with a black dye. "But ... it ... It's the movie?! . Indeed the title The Green Hornet appears. The film begins well and good, all lights on, at a time when the trailers should be seen and while the spectators are still entering a room where the film is scheduled to start in a quarter of an hour .
"Euuuuuh ... You think they are realizing they are the guys from the movie instead of sitting? . In the digital age and almost automated projection booths, the question is hardly legitimate. Of course the only ones who know that the film begins with 15 minutes in advance in full light, it is the spectators. So, after three minutes of film before we did way too much, I jumped from my seat and being outside the room in search of an employee of the cinema. I only takes a few seconds to fall on a young woman colors of UGC in which I explain the situation: "In the 33 where the film begins with the lights turned on while it is only the start time of the meeting ...." So I go back to the room, I hear shake his walkie-talkie. Meanwhile, the movie had continued as if nothing had happened in front of the audience not understanding what was going on too. But fortunately, a few seconds after I took my place, the film stopped. Black screen a few seconds ... then two minutes later, the meeting began. Trailers and ads succeeded for fifteen minutes. And at 20:05, the light went out entirely, dear Columbia logo took shape on the screen again - at this time - and the movie started. In the dark. End of stuttering and early celebration.
The Green Hornet was these projects forward, stumbling in Hollywood, directors, screenwriters and actors for years in succession on the project but failed to take off. Until this idyllic combination is found: Seth Rogen and Evan Goldberg's usual accomplice (who wrote and produced together Superbad) in scenario and production, Michel Gondry behind the camera. Rogen seizing writing the adventures of the Green Hornet and his sidekick sacred Kato, Gondry and trying out for the first time in a big Hollywood machine was a real gamble. And a fully successful bet by the protagonists.
And if The Green Hornet (yes, over Green Hornet, we keep the original code name for the movie ...) turns out to be a concentrate of delicious fun is because Seth Rogen and Evan Goldberg, rather than adapting their writing style to the genre they approached (the superhero movie ...), have appropriated the characters and their mythology and have infused that makes the feast of their own universe. So much humor. Result in their pens, Britt Reid becomes heir raver, flirty, a bit pathetic, lazy, too, that rather than assuming the legacy of his father likes to play vigilante to fulfill a childhood dream. And it was his meeting and friendship with Kato fusional the garage / coffee making from his father who will raise it to that gratification. The chemistry between Rogen and Jay Chou, the Chinese actor chosen to use the panoply of Bruce Lee as Kato, works perfectly. The stupidity of one side to the other style. An exciting combination that carries the film. She wears it so well that even when at one point in the scenario, Reid and Kato are angry, the pace and the film suffers a loss of power in humor and enthusiasm is being felt.
Christoph Waltz aptly portrays villain (written with humor), Cameron Diaz is impeccable secretary received the attention of Reid and Kato, cool and cameos by James Franco and Edward Furlong are noticed. But none of them fails to steal the limelight from the duo Rogen / Chou. And certainly not 3D either, perfectly useless, and I am sure ultimately serves the film more than it improves. Only those sequences in which the camera lets us see through the eyes of Kato and his remarkable agility seem to justify the effect screenplay fashionable, but in fact there is no doubt that these scenes could just as well even better if the film had not been inflated in 3D. Too bad. The Green Hornet is one more example showing that the method of 3D is abused, even if it does not withdraw in the fact Gondry's film, which handles the blockbuster recklessly and talent, is a delightful entertainment.
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