My first word of advice: Leave your expectations at the door. If you’ve seen any of the marketing for the film, you’re probably getting a vibe similar to Ryan Gosling’s previous independent hit, Drive. This is by design. With the exception of his casting, and the fact that his character has a penchant for fast vehicles and criminal undertones, the two projects have almost nothing in common. The Place Beyond the Pines is a generational epic with a unique storytelling structure and an ensemble that rivals its bigger budgeted brethren. The lack of studio oversight has allowed for the creation of a wildly ambitious and deeply emotional movie… though its approach is simultaneously its greatest strength and its most devastating weakness. This film doesn’t exist to be anyone’s entertainment, and I’d hesitate to recommend it to someone who doesn’t have a healthy respect for the power of the medium. Everywhere you look, the world is painted in shades of grey, with characters becoming more or less sympathetic, but never truly “good” or “bad.” Most audiences aren’t used to having a complex relationship with the characters in a film, particularly the leads, and it’s easy to see where the casual viewer might dismiss the movie outright. However, for those of us who enjoy more challenging fare, Pines strikes a great balance between leading you down the path, and giving you the space to draw your own conclusions.
Going too far into the turning point moments would ruin the experience, so I’ll try to address the structure in more general terms. Pines is a long movie. With a first cut rumored at over 3 and a half hours, it’s easy to see that the filmmakers wanted to build an all-encompassing saga. The final film is about 2 hours and 20 minutes, and given that its three acts are, in fact, three separate narrative threads that occur in sequence, it’s actually a pretty modest length. Conventional wisdom would have suggested a style of editing rife with flashbacks and intercutting, but the director chose a much more methodical, chronological approach that keeps the story moving and prevents the audience from getting the chance to stop and reflect before the credits roll. The opportunity to experience the events of the film with the characters in real time is rare in contemporary filmmaking, and the disregard for cinematic tropes gives the whole project an added level of integrity.
The movie shows the life of the boy which got twisted when he lost his father`s car. The music for this movie has been out and is composed by Sachin Gupta and the music album has four tracks. The movie is set to release on 15 March 2013.
Post a Comment