‘love’ American style: in Paris, travolta names.
After the invasion of Iraq in 2003, France became Europe’s most outspoken critics “American exceptionalism” – the United States for its cowboy diplomacy can and should act unilaterally, without regard to odd international law. So, one of France’s most successful filmmaker Luc (Luc Besson) and common creation for the Paris film stills and celebrate the great man’s doctrine, this is a surprising thing.
In last year’s shooting, the former photographer Pierre morrel directed the film. It portrays Liam Neeson as a former CIA thriller whose teenage daughter was snatched away by Paris in the hands of Albanian sex slaves. Because the French were cold or corrupt, they gave Nathan a beating, torture, and a wave of albanians, arabs and other thugs. The fantasy may be primitive, but it’s the fillet steak from the meat rights activist movie, which niesen deprives of pure, upright, patriarchy American genius.
Now, Mr Besson and director geoff morrell returned to a larger, more bad of the illusion of masculinity in the United States, called “love” from Paris, John travolta starred, a bald head and a small goatee as Charlie crist, but – – proved incredibly proficient terrorists hunter. As Neeson in seems, travolta’s figure and no patience to deal with the cunning of bureaucrats or foreign elite, so naturally, Mr Besson and morel and Jonathan rhys myers as rebellious diplomat James Reese partner. When the idea arrived at the airport, almost international incident happened, and threaten a French officer let him carry energy drinks into the country – when he was in the car to Reece said, can have more play than caffeine.
Travolta is rejuvenated. Of course, he was strong – he wasn’t the first actor to think of lightning. But his own zen skills made him energetic and cheerful, and his fighting scenes were choreographed and edited very professionally, so I never saw a stunt double. Like shooting, from Paris with love and the faster mobile – only 90 minutes, this is from the most bloated modern movement to a great change in the photo – and there is no waste. In the scene, a group of terrorists becomes a bleeding windmill. When you exhale, these windmills hit the ground. Your breath is a gasp of surprise.
Morrel will inevitably be compared to director John woo, but I think he is better. He had less manners and a sharper eye; He is the fastest, the most kinetic of the camera moving like the frame in the cartoon. When he interrupts the slow motion of the flow, you will see the lyric of a warrior, or the distortion of a loose body,
But morrel’s action scenes in From Paris With Love represent the art of taking away. Travolta went through a door at the top of the circular staircase, and Lester was waiting below. The camera maintains one body after another, one after another, or rebounds or crunches. Traverta’s wax taught Rhys Myers’Reece diplomacy very well, but there was no daring or style substitute.
It can be said that From Paris With Love’s mind is simple and formalized, Besson and Morel are appealing to American audiences, they cannot win the war on terror in reality, and thus attach themselves to the fantasy of the young. If the film didn’t make me so happy, I might argue.
Perhaps because they were French, Mr Besson and morel can celebrate without guilt anecdote of American fighter prototype – or on bigelow Catherine the great hurt the psychological framework of harsh in his work. They know exactly why everyone is seduced by this prototype – even if we hope that the possible Charlie wax figures are not as bad as Charlie’s tuna in the real world.