Directed by: Alejandro Gonzalez Inarritu.
Starring: Sean Penn, Benicio Del Toro, Naomi Watts, Clea Duvall, Danny Huston, Marc Musso, David Chattam.
Production: Alejandro Gonzalez Inarritu, Ted Hope, Robert Salerno.
Distribution: Bim.
Year: 2003.
After a youth spent badly between petty theft, alcoholism and some steps in prison Jack is managed with difficulty to get up clinging to the word of a stern and inscrutable God, after having granted the grace of redemption, puts his faith to the test again. With the same car on which he has stuck to mo 'poster of the message "Jesus saves you," Jack accidentally kills her husband and two daughters Christina, wife and mother model. By a strange trajectory of the heart of the case will end in the chest of Michael Paul, a math teacher ready, because of a serious illness, his final farewell to the world. Paul returned to life unexpectedly difficult to accept the "blame" to be alive and hires a private investigator to discover the identity of the unfortunate donor. The tragic fate incident that has temporarily pulled the upset, however, death to the point of pushing it as a meteorite mad at Jack and the same Christina. Chained in a tangle of human desperation three "damned" will collapse together into the abyss of suffering, but eventually someone will rise again.
He arrived in Hollywood after having directed only one film (Amores Perros), the Mexican Inarritu has paid off in the best way trust American film of the establishment who did not hesitate to make available two pure-bred horses as Benicio Del Toro and Sean Penn. In addition to the emotional upset and even involve the public in fact 21 grams also offers significant insights formal. The structure of "mosaic" in which, without chronological order, are disorderly scattered fragments of history acting virtuously while softening the overall success of the work content into decidedly hyperbolic and arouses the attention of viewers less likely to existentialism chiaroscuro that would otherwise not easily withstand the impact with a lot of inner struggle. It seems that the idea of \u200b\u200bbreaking the time linearity was already covered in beautiful script by Guillermo Arriaga, whose trial is raised so more than one step, but we can not rule out the possibility of an operation to post-production experience that is, during the editing to smooth out the emotional rush of a plot apparently overloaded. However the disruption of history proves to balance a brilliant and necessary action and so the "diagnosis" as the "treatment" given promptly to the text give the measure of the remarkable sensitivity of the film authors. Inarritu footing the rest of the camera and the accuracy of staging, set to a dominant photo peculiar to each fragment of history and almost constant use of hand-held camera, reveals the talent of an artist with a solid shoulders broad enough to refute the time the sentence strip of those critics who have spoken about 21 grams of a product as cunningly designed to measure the festival. Just have some basic notion instead to understand the significant dangers that were hidden behind a film like this and for that matter prefer to frame 21 grams as a morally high effort to communicate with the public through what the public tends to ignore: the suffering. The Mexican director does not retract in front of the shame and torment, but with infinite patience, finally, the searching out around the hole that everyone consciously or unconsciously left in the defensive wall erected to protect their pain. The camera then turns to Inarritu metaphorically in that St. Thomas had put his finger in the wounds of Lord all'irragionevole reason to bend the truth of the soul. The wounds of the men but they are not revealing how the wounds of the Son of God, and so the mystery deepens and the soul remains in quell'impercettibile weight just 21 grams, of which the body releases in the exact of death.
Review by Alessandro Montanari
