Review: Stehlík gets lost in a network of review, but impresses with a visual impact
Stehlík Based on the book of the same name, awarded the Pulitzer Prize by Donny Tartt, it tells the story of Theodor Decker in two time series. When his mother died in a gallery explosion at the age of thirteen and was cared for for a while, his father and a new friend suddenly appeared and everyone moved to a new city. A series of events take place here that shape Theodore’s life with bad and good memories and meet people he will not forget all his life. After all, he does not forget the image of a goldfinch that he remembered after the explosion. An emotional story of guilt, love and friendship came to the Czech cinemas on Thursday.
The film tries to stay true to the artwork of a fairly large novel, which, paradoxically, is its biggest problem. Stehlík sometimes drown in transitions between several time levels, a great difficulty is the difficult orientation in the action. Too many retrospective or retrospective scenes sometimes make the narrative extremely confusing, although there are different actors on both levels – while 13-year-old Thedor is represented by Oakes Fegley’s young hope (Criminal hunters. enchantment), his future 25-year-old self was by Ansel Elgort (The stars didn’t want us. paper towns. Baby Driver).
On the other hand, the appearances are not only the main representatives a big plus of the film. Also a big thank you to casting director Ellen Chenoweth (Magician from the land of lies. Ave, Caesar!) who not only managed to select the protagonists superbly Stehlíka, but especially the characters of both timelines agree that the time difference really looks like the actors actually “like eggs to eggs”. This is not only the case with the main character, whose two representatives are extremely similar not only externally, but also in a more reserved manner, but also in the figure of the Ukrainian rebel Boris. At Finn Wolfhard (Strange things. The) and Aneurin Barnard (Thirteen. Dead in a week or your money back) is really a remarkable resemblance, not just visual. The film also shows Nicole Kidman and Sarah Paulson.
Little space for large works of art
However, the great story the extensive book has to offer could not be turned into a movie, although the creators apparently tried to do so. You can feel it on two and a half hours of footage and on a number of topics the film deals with, but it never happens on the pulp, which is a shame. John Crowley has proven his ability as a director in the past Brooklynand ve Stehlíkovi plays a spectacular, ambitious drama, which is apparently unfinished to the end due to the vastness of Donna Tartt’s original story.
The film is artistic at a really high level of world quality. Roger Deakins’ camera is classically really great, sophisticated, the individual shots are well thought out in terms of composition and the camera has a great atmosphere thanks to the funny color correction. The resulting look, apart from adapting to contemporary costumes, was supported by a smooth cut. Kelley Dixon, an experienced television editorCall Saul. shameless) for whom he was Stehlík The first major film project that she did with great honor.
Even though Stehlík probably lost in the confusion of many other films of the same genre; It attracts great workmanship, acting and camera. Compared to a literary model, it’s definitely better to read a book first that is written more intelligibly and intelligibly than the history of the film. For the next edition of the book at such a demanding level, it may be better to carefully sort out which situations should be discarded and which should be left. And also how much space you can devote to them. filmový Stehlík suffers from many deaf spots and gets lost in a series of flashbacks that keep cropping up as they gradually turn around.
USA, 2019, 149 min
director: John Crowley
Scenario: Peter Straughan
Actor: Ansel Elgort, Sarah Paulson, Aneurin Barnard, Finn Wolfhard, Nicole Kidman and others