Nightmare Alley: Guillermo del Toro signs a magical black tale [critique]

Nightmare Alley: Guillermo del Toro signs a magical black tale [critique]

No more cute monsters. Del Toro is ditching his shoulder rubbing splendor with his favorite genre, film noir. Hopeless and hopeless and without the slightest success in the United States.

mirror cinema screen. We hope to pass it every time we sit in a room, looking for white rabbits that the director will have a hard time pulling out of his hat. The parable is at the heart of modern autobiographical approaches to some (Sorrentino, Paul Thomas Anderson) or others (Tarantino, Carax), such as the reflexive effects of astounding films as different as West side story (Reflections of the 1961 movie), spiderman no way home (Several identical Peter Parkers) or modern matrix (Which quotes another famous Mirror, which is Tarkosvki, for a better dialogue with the Millennium Trilogy). What should we think about? And what should we learn from this in the face of the new Guillermo del Toro movie?

The author confirmed this himself in our interview published last month: in nightmare alleyMirrors are everywhere. Neither rhyme effects nor dimensional gates in CGI, they are here as reminders. Mirror My beautiful mirror Tell me who is the most beautiful? The question has always been rhetorical and theoretical, the imaginative expression of man’s greatest obsession: to see himself as he is. For del Toro, the mirror is an object of denial, an automatically suggested illusion. We look at ourselves there without seeing ourselves, we see ourselves there without looking at ourselves, and we see there what we want to see there. Until the day when…

A man tries to escape from a past as heavy as the corpse he had to drag at arm’s length until it disappeared. This man plays Bradley Cooper, the funny face of an undecidable angel, a mixture of false horizons played by Joel McCray in Sullivan Tours By Preston Sturgess and Robert Taylor Sharp Trap by Nicholas Ray. In his escape, he reinvents himself as a showman, learning the art of divination, absorbing all the tricks but retaining no lessons, before continuing the tragic momentum that leads him to his downfall, like a spinning top that spins more and more closer to the edge of the table. Around him, all of them just FreaksColorful characters and memories of the old Hollywood roots that del Toro loves so much. The spectacle, the illusion, the fair, the fake monsters, the real scars, the eyes that shine, the souls that burn. Little by little, the hero becomes the agent of his own destiny, and thus his downfall. Women can pass, angels or demons, and the postman can ring as many times as they want, and the killer man is, and he doesn’t need anyone to pay himself. abyss. From the backstage of earthy capitals to the beautiful circles of grand hotels and the elegant salons of the wealthy, a fortune-teller becomes a bad omen. The film’s fiasco at the US box office is the direct result, and the great irony. Facing the mirror screen, it is undoubtedly easier for the common people to walk on the other side than to face human nature at its most dizzying. in a nightmare alley, we find it as the movie Noir always revealed. Endless pit, dead end tunnel. And without any light at the end.

From Guillermo del Toro. With Bradley Cooper, Cate Blanchett and Toni Collette. Duration: 1h19. Released January 19, 2022

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