FRAMES CINEMA

Category: Recensioni

  • 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.

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    Questo articolo è stato scritto da:

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  • 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.

    [fusion_text]

    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.