FRAMES CINEMA

Category: Recensioni

Recensione Il Processo ai Chicago 7 di Aaron Sorkin

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Dopo quasi 14 anni prende vita il progetto di Aaron Sorkin sulle vicende dei Chicago Seven, un gruppo di attivisti accusati dal governo federale degli Stati Uniti di cospirazione e istigazione alla sommossa nel corso della manifestazione finita in tragedia avvenuta durante la convention del Partito Democratico del
1968 a Chicago.

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Il film, in gara per i 93esimi oscar con 6 nomination e disponibile su Netflix, segue il processo contro i sette (o otto) imputati, ricostruendo gradualmente i fatti accaduti 5 mesi prima del processo. Aaron Sorkin, autore e regista di questo lungometraggio, riconferma le sue abilità, riuscendo a portare sul grande schermo un’eccellente trasposizione degli eventi realmente accaduti. Il tono con cui il film affronta un argomento così delicato, per quanto possa superficialmente sembrare troppo leggero e inadatto, è in realtà capace di rispecchiare l’aria che si respirava nelle rivoluzioni sessantottine in America, gestendo magistralmente le varie figure di spicco dei movimenti che si opponevano alla guerra in Vietnam in modo leggero ma mai svilente o ridicolizzante. In particolare i personaggi interpretati da Sacha Baron Cohen (Abbie Hoffman) e Jeremy Strong (Jerry Rubin), leader dello Youth International Party (Yippies) e i più “esuberanti” del gruppo, si permettono delle battute più scherzose e libertine, senza mai però eclissare i loro valori morali e diventare una macchietta tutto “Sesso, droga e rock&roll”.

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Il regista e sceneggiatore Aaron Sorkin.

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Così come nel ‘68 i vari gruppi che lottavano per una rivoluzione della società non erano uniti, le figure di spicco dei vari movimenti che si troveranno tutti seduti al tavolo della difesa sono eterogenei e in contrasto tra loro per modalità e opinioni, ma faranno fronte comune verso lo stesso obiettivo: far cessare
la guerra in Vietnam. Ciò è subito messo in chiaro dalla prima sequenza del film che ci introduce i vari volti dei protagonisti intenti a motivare la loro presenza alla convention, con o senza permesso, evidenziando le caratteristiche che li differenziano o dallo scontro Hoffman (Sacha Baron Cohen) e Hayden (Eddie Redmayne) che si evolve durante la pellicola che rappresenta chiaramente la frattura che il fronte pacifista stava attraversando in quel periodo.

La macchina da presa si sbilancia in favore degli imputati mostrando come la sentenza sembri essere stata decisa a priori secondo pregiudizi razziali e culturali, trasformando il processo in un “processo politico” con sopo punitivo ed esemplare per ogni manifestante cercando di ottenere la condanna attraverso ogni mezzo. Una nota di merito a Sacha Baron Cohen che pur interpretando un personaggio molto simile ai suoi ruoli precedenti e in grado di dargli spessore e un livello di serietà e di solida morale sotto le vesti edonistiche hippie, senza ricadere in un “Aladeen figlio dei fiori”.

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Sacha Baron Cohen interprete di Abbie Hoffman, ruolo che gli è valso la candidatura agli Oscar 2021.

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Il resto dell’apparato attoriale non è comunque da meno. Nessuno dei ruoli principali è infatti sotto tono ottenendo un lavoro corale che funziona. L’utilizzo di materiali d’archivio si amalgama alla perfezione con la narrazione, sottolineando il forte impatto mediatico dell’evento, ben sintetizzato dagli slogan che la folla esprime rumorosamente: “Tutto il mondo sta guardando”.

Il processo ai Chicago 7 racconta di un importante episodio della storia americana per la lotta verso una trasformazione sociale purtroppo dimenticato da molti e che dovrebbe invece essere ricordata e guardata da tutto il mondo, oggi come 50 anni fa, perché l’essenza dei temi trattati è immortale e valida ancora oggi, sebbene sotto abiti diversi adattati al periodo preso in questione.

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Il cast del film.

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I veri protagonisti della vicenda di Chicago.

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Questo articolo è stato scritto per la pagina Instagram Frames Cinema, quindi era stato pensato un formato più consono per quel social network che per il sito web.

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Questo articolo è stato scritto da:

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April 22, 2021
Recensione Judas and the Black Messiah – L’ultimo orizzonte del Black Cinema

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Sin dagli anni ‘80, con gli esordi di registi come Spike Lee e John Singleton, il cosiddetto Black cinema ha trovato nuova vita, lasciandosi alle spalle la blaxploitation della decade precedente e aprendosi a nuovi orizzonti e grandi ambizioni. Negli ultimi dieci anni, in particolare, una nuova generazione di autori (Ryan Coogler, Barry Jenkins, Ava DuVernay, Jordan Peele…) ha dato nuova linfa a questo cinema, che occupa un ruolo sempre più centrale nell’industria hollywoodiana, raccogliendo spesso ampi consensi e successi (“Black Panther”, in tal senso, è un film epocale e già pienamente storicizzato). In questo contesto si inserisce alla perfezione “Judas and the Black Messiah” di Shaka King, ennesimo film che si assume il compito di raccontare una pagina oscura delle lotte per i diritti civili degli afroamericani.

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Il regista Shaka King

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La pellicola inizia a Chicago nel 1967 quando Fred Hampton, leader della sezione dell’Illinois delle Pantere Nere, fonda la cosiddetta Rainbow Coalition, che pone fine alle rivalità tra i vari movimenti socialisti e anti-capitalisti della città e li riunisce tutti, nel tentativo di riuscire finalmente ad imporre un vero cambiamento sociale. L’FBI allora infiltra nell’organizzazione il giovane criminale William O’Neal, incaricandolo di fornirgli informazioni sulle attività del movimento e di Hampton in particolare.

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Lakeith Stanfield nei panni di William O’Neal, il “giuda” della pellicola.

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Il film è un dramma storico ben strutturato e scritto con garbo, che si avvale della bella fotografia di Sean Bobbitt (collaboratore fisso di Steve McQueen) e della messa in scena classica e sicura di King per raccontare al meglio una delle pagine più nere della storia dell’FBI. Il Bureau, guidato da un mefistofelico J. Edgar Hoover (impersonato da un irriconoscibile Martin Sheen), è il vero villain del film ed è raccontato in tutti i suoi meschini meccanismi. La forza della pellicola, che risulta godibile pur senza particolari guizzi, sta però tutta nelle interpretazioni dei protagonisti e nel modo in cui il regista inquadra i loro corpi. Daniel Kaluuya, sorprendente protagonista di “Scappa – Get Out” interpreta Hampton con straordinaria incisività (consigliatissima la visione in lingua originale, visto il gran lavoro svolto dall’attore proprio sulla parlata) ed è bravissimo a passare dal carisma dirompente dei comizi politici alla esitante sensibilità dei colloqui con la fidanzata Deborah Johnson.

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Daniel Kaluuya nei panni di Fred Hampton, il “Black Messiah” del film. Una performance straordinaria che probabilmente gli varrà l’Oscar come miglior attore non protagonista.

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Dominique Fishback, che la interpreta con grande dolcezza, gioca sulla propria fisicità formosa e sulla propria pelle vagamente butterata per dar vita al corpo e all’anima del personaggio forse più bello del film: una donna che porta in grembo una vita ed è innamorata sì di una causa politica, ma anche del proprio uomo che ogni giorno dichiara di essere pronto a morire per i propri ideali. Shaka King, pur impegnato a mettere in scena il dramma storico, dissemina il film di scene intime, in cui i personaggi (e gli attori) rivelano il meglio di sé.

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Daniel Kaluuya nei panni di Fred Hampton e Dominique Fishback nei panni di Deborah Johnson, la fidanzata di Hampton.

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All’appello a questo punto manca solo il Giuda del titolo: William O’Neal, interpretato anch’egli alla grande da Lakeith Stanfield, che dà vita a un antieroe cupo e dubbioso, con cui lo spettatore entra in empatia anche di fronte al tradimento commesso. I suoi dubbi e la sua incapacità di esimersi dalla colpa più grande non lasciano indifferenti.

“Judas and the Black Messiah” rimane dunque complessivamente un significativo tassello all’interno dell’itinerario del black cinema contemporaneo di impronta storica e rappresenta soprattutto una bella occasione per ammirare un cast di giovani attori al massimo del loro talento.

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April 21, 2021
Recensione One Night in Miami… – Esordio alla regia di Regina King

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Miami, 25 febbraio 1964: Cassius Clay viene incoronato campione del mondo dei pesi massimi e, in seguito, si ritrova in un motel con il celebre attivista Malcolm X, il cantante Sam Cooke e il campione di football americano Jim Brown. Quella che avrebbe dovuto essere una serata di festeggiamenti tra amici sfocia in un’accesa discussione sul futuro della comunità afroamericana.

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Trailer del film d’esordio alla regia di Regina King.

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Tratto dalla pièce teatrale di Kemp Powers (co-regista e sceneggiatore di “Soul”) e da lui stesso adattato, immagina l’incontro tra quattro personaggi storici che furono realmente amici e che giocarono, ognuno a modo proprio, un ruolo importante nelle lotte della comunità black. Regina King esordisce alla regia e ha il grande merito di essere riuscita a rendere la pellicola piuttosto dinamica e a darle sapore cinematografico: il film non è mai eccessivamente statico o claustrofobico e non risente, come talvolta accade, della propria origine teatrale.

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La regista Regina King.

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Grande è inoltre l’intuizione di aprire il racconto con quattro sequenze brevi ma fondamentali ambientate nel 1963, tramite le quali lo spettatore familiarizza con i singoli protagonisti e ne comprende la situazione sociale. Da metà film in poi, invece, ci si trasferisce al motel e la forza della sceneggiatura di Powers sta nel sottolineare il conflitto tra Malcolm X e Sam Cooke, che hanno idee diametralmente opposte su come la lotta per i diritti civili vada condotta e sul rapporto da intrattenere con i bianchi.

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Il primo, tra i leader del movimento afroamericano della Nazione dell’Islam, sostiene la necessità di prendere una posizione netta contro i bianchi (li chiama “diavoli”) e vorrebbe che ognuno dei tre amici sfruttasse il proprio ascendente e divenisse un’arma al servizio della lotta (anche violenta, se necessario) per reclamare i propri diritti. Proprio per questo Malcolm cerca in ogni modo di convincere Cassius Clay (appena assurto a leggenda del pugilato e quindi detentore di uno straordinario prestigio) a diventare musulmano e ad unirsi alla Nazione dell’Islam e, al contrario, critica proprio Sam Cooke.

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Kingsley Ben-Adir nei panni di Malcolm X.

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Quest’ultimo, cantante di successo, sogna invece di esibirsi con successo al Copacabana (celebre locale “bianco” di New York) ed è pronto anche a subire delle umiliazioni pur di riuscire un giorno ad essere accettato e acclamato anche dal pubblico bianco. Cooke è un borghese che combatte la sua lotta per i diritti tramite il proprio successo professionale: possiede un’etichetta di musica “nera” ed è economicamente indipendente da qualsiasi padrone. Malcolm lo critica perché spreca il suo talento in “ruffianate”, Cooke al contrario sogna di “entrare nel cuore dei bianchi” e di vincere così la propria battaglia per l’integrazione.

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Leslie Odom Jr. nei panni di Sam Cooke.

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Sono due prospettive differenti, sulle quali Powers e la King costruiscono un complesso dibattito ideologico, mai banale e soprattutto estremamente attuale (pensiamo a Black Lives Matter). Al buon risultato complessivo contribuiscono quattro attori in forma smagliante che, grazie anche alla regia classica ma sicura, vedono le proprie sensibili performance esaltate. “Quella notte a Miami…” è, in definitiva, uno dei più significativi risultati di quel black cinema che negli ultimi anni sta tornando ad occupare un posto di assoluto rilievo nello scenario produttivo statunitense. Potrebbe dire la sua anche agli Oscar (a proposito, cliccate qui per leggere le nostre previsioni).

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La recensione che avete letto era stata pubblicata originariamente sulla nostra pagina Instagram, il formato è dunque pensato più per quel social network che per un sito web.

[fusion_testimonials design="classic" navigation="no" speed="" backgroundcolor="" textcolor="" random="" hide_on_mobile="small-visibility,medium-visibility,large-visibility" class="" id=""][fusion_testimonial name="Jacopo Barbero" avatar="image" image="https://framescinemawebzine.com/wp-content/uploads/2021/04/frames-cinema.com3_.png" image_id="1640|full" image_border_radius="" company="Caporedattore" link="https://framescinemawebzine.com/redazione" target="_self"]

Questo articolo è stato scritto da:

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April 21, 2021
Recensione Malcolm & Marie – Un vortice autodistruttivo

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Sam Levinson, showrunner di “Euphoria“, recupera la sua attrice feticcio Zendaya e le affianca John David Washington nel primo film hollywoodiano “pandemico”. Concepito in fretta e furia e girato in 20 giorni nell’estate 2020 in un’isolata villa californiana, racconta una serata nella vita di Malcolm, un regista, e Marie, la sua compagna.

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Il problema è che, pur dando spazio al talento dei due attori, il film è tutto urlato, sopra le righe, una litigata senza sosta che rischia di stremare lo spettatore. Ad un certo punto un personaggio dice all’altro: “You’re being dramatic“. Ecco, il film è esattamente così: melodrammatico, enfatico. I dialoghi sono un calderone di temi caldissimi: la donna, il black cinema della contemporaneità e la sua lettura in chiave politica, l’isolamento e naturalmente i rapporti di coppia. A Levinson manca però la capacità di dare un senso e una direzione al tutto: accenna, ma non approfondisce e non riesce a trarre un significato superiore dalle parole che mette in bocca ai propri personaggi.

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La co-protagonista, interpretata da Zendaya.

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Certo, la messa in scena è raffinata, fatta di lunghi piani sequenza ben composti e di un bianco e nero affascinante, e gli interpreti danno il meglio di sé. Ma sono posti al servizio di una sceneggiatura monocorde e strepitante, che rischia di ubriacare lo spettatore con i suoi dialoghi fluviali e predicatori. Non a caso la scena più bella, raro momento di tregua nel film, è quella in cui Malcolm e Marie, seduti sul patio di casa, ascoltano una canzone che dice tutto ciò che vorrebbero dirsi. Il silenzio dei due parla più e meglio di loro.

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Forse la scena migliore del film.

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Questa recensione è apparsa per la prima volta nella pagina Instagram di Frames Cinema, è quindi pensata per un post su Instagram più che per un sito web.

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Jacopo Barbero,
Direttore editoriale.

March 5, 2021