The March idus. The integrity: is it important?
The March idus. The integrity: is it important?
Movie: The March idus.
Original title: The ides of march.
Direction: George Clooney.
Country: It uses. Year: 2011.
Duration: 101 min. Genre: Drama.
Interpretation: Ryan Gosling (Stephen Meyers), George Clooney (governor Mike Moris), Philip Seymour Hoffman (Paul Zara), Paul Giamatti (Tom Duffy), Marisa Tomei (Going), Jeffrey Wright (senator Thompson), Evan Rachel Wood (Molly), Max Minghella (Ben).
Script: George Clooney, Grant Heslov y Beau Willimon; based on the work “Farragut North“, of Beau Willimon.
Production: George Clooney, Grant Heslov and Brian Oliver.
Music: Alexander Desplat.
It photographs: Phedon Papamichael. Assembly: Stephen Mirrione.
Production design: Sharon Seymour. Wardrobe: Louise Frogley.
Distributors: Universal Pictures International Spain and Wide Pictures.
I release in USA: On October 7, 2011. I release in Spain: On March 9, 2012.
Qualification for ages: Not recommended for 12-year-old minors.
«There are still many of whom it is possible to be heard that a fortune-teller announced to him [to Julius Caesar] to wait for a big danger in the day of March that the Romans were calling the Idus. The day came, and going César al Senado, he greeted the fortune-teller and as for mockery he said to him: ' The March Idus have already come’, what he answered him with big rest: ' They have come, yes, but they have not happened’.»
Fragment of parallel Lives, Plutarch
Love. Treachery. Rancor. Revenge. Allegiance … Politics. And humanity. Or, at least, what stays of her. Although it seems that we are speaking about Julius Caesar of Shakespeare (: ‘Look after of the March Idus!’, big phrase that has gone down in history and that the author used in its work after reading to the Greek historian Plutarch), we are before the argument of the last movie of George Clooney, who reminds to us, once again, that a big respect is deserved like the director, in addition to as big actor. And the fact is that the histories selected by Clooney (let's stop aside It is the party – Leatherheads, 2008, in that She seems he wanted to demonstrate, fallidamente, its admiration for the brothers Cohen), they are intelligent, bold and also, biting. It surprised to half a world with Confessions of a dangerous mind (Confessions of to dangerous mind, 2002), gained himself the unconditional respect of the criticism with its vision of the journalism with Good evening, and Good luck (Good night, and Good luck, 2005), and now it brings to us The idus of March, a terrible reflection on the political system, but also a terrible reflection on the desires and motivations of the human race.
Based on the stage play Farragut North of Beau Willimon, who also has collaborated in the adaptation, one presents us to Stephen Meyers, the second one of the presidential campaign in favor of the governor Morris. Meyers sees in Morris the authenticity that needs the country: dear husband with irreproachable conduct, fighter and defender of the minorities. Someone who will be able to return to the country its past glory. Prompt Pero Meyers will discover that all that glitters is not gold. It will be the moment, then, to put itself to the test its ideals. To unmask the governor, or to accompany him in its passage towards the White House?
Quite, absolutely quite in The March idus it is outstanding. Taken care even the most minimal detail, even the promotional cartel is a small work of art that he says more than it seems to simple sight. What do we find in him? We see the candidate for the Presidency in front of the time, as it cannot be less in epoch of elections. We see who is behind the president, the coordinator of the election campaign. But what also we see in the cartel, and what discover after seeing the movie (attention, I feel it: spoilers!), the fact is that they are so similar as it reveals the conjunction of its two faces.
Meyers advises and writes what has to say other, therefore he is who really dominates the situation, knows how the country is going to have to be handled. Morris has a right (and to have to?) of refusing to penetrate the line (to accept dealings that can go against its ideals, from what it defends). This way, its convictions, for what they were fighting, were the same to the beginning of its careers. Idealistic, complete for nature … but the pressure of the environment, and topcoat its longing for being able, makes them penetrate its own border, the limit that had been marked. Even the Meyers personage ends up by being more corrupt than that of the own candidate to the presidency. More than the personage of its chief, the director of campaign, which appears before us as someone without conscience and which finally is the only one that yes continues its beginning: allegiance and integrity. Finally, a script that it keeps attentive during the totality of the length, which does not stay showing itself exclusively the mesenteries of the democracy, but it goes deep into the exposition of the real human needs: to feel (and it to be) winner at all costs. It is a pleasure to see how there have recovered movies of the genre (one of the last ones, more of spies that political but equal of suggestive in its exposition, The mole – Tinker, Taylor, Soldirer, Spy, Tomas Alfredson, 2011) so adult and interesting with a vision and exhibition.
More tricks of The idus of March: photo, assembly and music.
The photo, of the hand of Phedon Papamichael, thinks about how at all times to prove to be clair-obscure, lights and shades and reflexes from what it is going on. Reflexes, finally, of the moral ambiguity of the personages who are appearing before us. Big moments are, for example, the scene of Zara, the director of the campaign, along with Meyers, in which we see its silhouettes in black and of fund an illuminated flag of the United States; or to Meyers to go out to the light, revealing that is hidden after a stairs that up to this moment we had not seen; or the Zara reflexes in a crystal while Gosling is speaking by phone, the campaign trying to make to advance … Small details that insurance a second visionado they allow to find more similarities with the Clooney story.
The assembly helps to the advance of the length and to maintain the tension. In fact, it is observed that the movie, the history, develops just as if before the stage play we were. We advance for small blocks separated basically per moments from reflection accompanied by music of fund, which help us to assimilate the revelations that are dosed up to the final scene. And this music grandiloquent like the election campaign to which it is putting voice, but full of tones that us take a fancy they hide big secrets, it fulfills perfectly its assignment. Alexander Desplat is the ceremonies teacher, the coordinator of these blocks of length on that we were commenting earlier, and he demonstrates us, once again, that one can move in any genre that is asked him (let's remember is the composer of works as brilliant as The speech of the king – The king's speech, Tom Hooper, 2010, The curious case of Benjamin Button – The curious there marries of Benjamin Button, David Fincher, 2008, or of The tree of the life - The Tree of Life, Terrence Malick, 2011).
And, finally, how not, to speak about the interpretations. A luxurious share-out for a luxurious history. Clooney reserves the fact that the role could look like a protagonist, but not further at all of the reality. Its personage is the driver of the whole plot, but it remains clear from the beginning that is always going to be in the background. Nevertheless, it demonstrates that although it moves better in the comedy, it is capable of assuming a role as important as risky (there escapes from nobody the criticism, the crafty and sharp one, directed so much to democrats as to republicans). We continue with Paul Giamatti, who in a few minutes that appears can transmit the cynicism of its personage, the director of campaign of the opposite candidate. Giamatti expresses with every look, with every gesture, how he is evaluating the reaction of its speaker, and how he is going to answer him. Never he hides its intentions, makes it clear. Philip Seymour Hoffman: it is undeniable that dominates its profession. He knows how to make us concentrate in what he says, in how it moves, in every second of also few ones that it appears. Your name is George Clooney or Ryan Gosling, it does not matter: Hoffman steals the scene, inlcuso if we do not see him proque he is speaking pro phone. If we had to remain with a moment of The idus of March, undoubtedly it would be that of the sermon of Hoffman to its ward, with the enormous American flag behind: "What it imports is what you did: what it imports is what you did not do!”.
Finally, we come to Ryan Gosling. Fully deserved nomination to the golden Balloon, undeserved negligence in the Oscars (because of it and, of course, for Drive), Gosling gives us, again, other one of its best interpretations (the problem is that we do not know when they it are not). In one year in which even we have surprised in the least comedy Crazy, Stupid, Love. (Glen Ficara, John Requa, 2011), in The March idus stands out for the interior transformation of the personage, that it allows to go out and flow from a motivated young man who is known dominates its work and boasts of it, up to showing without saying word, in a beautiful and revealing final framing in primerísimo plane, the real motivations that he is interested in and moves him. It is not only a revenge, it is not only a rancor for how they have treated him even being faithful to the campaign. It is the flavor of the power. And the power is, as they know by intuition in the words to that we listen in off of fund on the part of the candidate during the same final scene, the worst enemy of the integrity.
If it has not remained sufficiently clear: A brilliant movie is the March idus that absolutely nobody should allow to escape.
I leave a trailer to you in original version with sustítulo in Spanish.
Filed file: Movies
Did he like this article? Subscribe to my RSS feed and to obtain more discharges!