Paris, Friday 11 June
To R.
Brighton, 1964.
Mobs of mods and rockers fighting in the streets, announcing the riots of 1977.
Adapted from Graham Greene's compelling thriller, Brighton Rock tells the story of one of the most peculiar killers of detective literature, Pinkie Brown, aged 17. The movie starts with the murder of Pinkie's gang leader, Kite. When Pinkie's gang tries to avenge Kite by stabbing his murderer, they are witnessed by waitress Rose. So, Pinkie will do his utmost to make her fall in love with him, to prevent her from talking. Despite his hatred for women. Despite his disgust for anything related to love and sex. Although kissing arouses nothing but repulsion in him.
The movie remains quite faithful to the book, its thrilling atmosphere, and the quickened rhythm towards the end, though it may seem a little slow at times. Still, this is also one of the director's choices: to keep you in a constant state of tension. This is heightened by Sam Riley's performance, who masters perfectly Pinkie's twitches of disgust. My only disappointment: a few references only to the fact that he doesn't drink or smoke, whereas this is one of the highlights of the protagonist. Rose mixes fear, sweetness and naïveté. Helen Mirren embodies motherly Ida, far less annoying than in the book. Still, you stand with Pinkie and Rose, wondering what the hell Ida is doing while noseying round other people's business.
But Brighton Rock's main asset lies in its aesthetic quality. Graphically speaking, you cannot but feel delighted, colours and movement merge to make anxiety rise. Brighton Rock is quite a gloomy, bloody movie, and the music during Pinkie's chase is just marvellous.
Many people criticised the fact that the action takes place in the 60s, rather than in the 40s. But Joe Wright managed to recreate the 60s far better than the setting of his two previous movies, the awful, mawkish Pride and Prejudice and te not-so-believable Atonement. For once, Mr Wright knew how to read a book and make a good adaptation out of it. Well done, Joe, you did it!
The only big failure: the ending, much too Hollywoodianised to my taste (but knowing the director, it seemed unavoidable). Mr Wright, please, re-read the novel. You'll see that in Brighton Rock, there's no redemption, only hell and sin. Who knows... maybe your next film will be your masterpiece.
Nevertheless, dear spectators, for the moment, instead of blindly following critics and risking to experience massive boredom while watching The Tree of Life, go and see Brighton Rock. I beg you. I'll leave you with these stills and the most moving lines of the film:
Pinkie, with an angry voice, trying to scare Rose: 'Are you afraid?'
Rose: 'Not when I'm with you!'
But Brighton Rock's main asset lies in its aesthetic quality. Graphically speaking, you cannot but feel delighted, colours and movement merge to make anxiety rise. Brighton Rock is quite a gloomy, bloody movie, and the music during Pinkie's chase is just marvellous.
Many people criticised the fact that the action takes place in the 60s, rather than in the 40s. But Joe Wright managed to recreate the 60s far better than the setting of his two previous movies, the awful, mawkish Pride and Prejudice and te not-so-believable Atonement. For once, Mr Wright knew how to read a book and make a good adaptation out of it. Well done, Joe, you did it!
The only big failure: the ending, much too Hollywoodianised to my taste (but knowing the director, it seemed unavoidable). Mr Wright, please, re-read the novel. You'll see that in Brighton Rock, there's no redemption, only hell and sin. Who knows... maybe your next film will be your masterpiece.
Nevertheless, dear spectators, for the moment, instead of blindly following critics and risking to experience massive boredom while watching The Tree of Life, go and see Brighton Rock. I beg you. I'll leave you with these stills and the most moving lines of the film:
Pinkie, with an angry voice, trying to scare Rose: 'Are you afraid?'
Rose: 'Not when I'm with you!'
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