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Author Topic: Who saw RICHARD JEWELL? Members' Comments (WARNING: SPOILERS ALLOWED!)  (Read 2071 times)
KC
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« on: December 13, 2019, 01:31:44 AM »

Richard Jewell opens in the US today, so it's time to get our traditional "members' comments" threads started.

In this thread, spoilers are allowed. Anyone who has seen Richard Jewell and has more to say than can be safely posted in the "No Spoilers" thread, please give us your thoughts, comments or full-fledged review.
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batfunk2
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« Reply #1 on: March 05, 2020, 06:05:29 AM »


The Richard Jewell Case (2020)

With this 4th film in a row on ordinary American heroes (after the interlude La Mule), one could legitimately wonder from what new angle Clint would treat his subject ...
No surprise here, we find the usual hobby of Clint's filmo, namely the individual confronted with all powerful institutions (here, the FBI and the Media). Theme already covered in Sully, where Tom Hanks opposed the American civil aviation authorities ...
What is interesting, however, is that Eastwood is focusing here on the effects of this fight on the life of the hero, who will become an absolute hell. So we go from a classic trial film in Sully to a real family drama.
The treatment of the subject, apparently classic, is at the very least astonishing ... The first part of the film paints a surprisingly unflattering portrait of the hero .: Jewell, who idealizes justice and the police, is little liked by his fellows, by his physique and especially an excessive zeal.A zeal motivated by his desire to do well ... and by an immense frustration of not being recognized. Not to mention that he lives at 33 with mom. : lol:
We have known more endearing heroes ...

The part after the attack will show other facets of Jewell, otherwise qualitative: Jewell is a loving and loved son, ready to sacrifice himself to protect his mother.
He is also faithful in friendship, so he calls to help the only person who showed him consideration, another freak, like him.
Another quality of the film is to see the credible evolution of Jewell, who begins as a fearful individual, insecure, then awkwardly expresses doubts and signs of resistance, and finally oppose him head-on. injustice and fulfill your dreams. : D
Tasty to note also that Eastwood fiercely defends the rights of the defense here, through the mention of Miranda by the lawyer for Jewell, very far from a fascist Eastwood, as some (less and less numerous) still like We are here close to the films of Capra, in particular of Mr. Smith Goes to Washington.
I truly admire Eastwood's unwavering belief in the individual, in his power of accomplishment. I think it's his version of the American dream: D
That said, the harassment suffered by the Jewells is absolutely unbearable for the spectator. Eastwood, by its qualities of director of actors, absolutely makes the best of a troop of remarkable actors (Bates, Rockwell and Hauser at the head).
The roles of Jon Hahm and Olivia Wilde are more ungrateful and one could criticize Clint for a certain caricature of the FBI and the media. But he shows in a few scenes that Olivia Wilde is little appreciated by her colleagues because pushy. Nevertheless, I find her tears and her repentance not very credible, as added at the last minute to calm the controversy.
Ditto for the FBI, which desperately applies to find a culprit sticking to its profile of chosen terrorist, whereas Jewell could be cleared by the evidence. The final negation of Jon Ham is it more credible, because motivated by the refusal of his humiliation. This same FBI, unable 5 years later, to thwart the September 11 attacks.
Amusing to also see that The Richard Jewell Case is the reverse mirror in 2020 of another film on an injustice, True Crime and the witness of a change of era:
In True Crime, a journalist tried hard, against the obvious, to avoid the death of a condemned man.
In Jewell, a lawyer defends the interest of an innocent man, condemned ... by a journalist. : mrgreen:
Same conclusion on the other hand, sober and elegant.
Same unjustified fate at the box office, with two commercial failures ...: cry:

In the end, a very beautiful drama, with a discreet and classy staging, great actors, removed dialogues (these people who speak like real people, p ... What it feels good!) And a very beautiful Arturo Sandoval bo.

Eastwood, as often, proves once again his sincere love for the small American people.
I finished the session with a tear in the eye, that's it ...: cry:

7.5 / 10
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KC
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« Reply #2 on: March 05, 2020, 08:37:54 AM »

Very nice review, batfunk2! Thank you!
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batfunk2
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« Reply #3 on: March 05, 2020, 10:29:02 AM »

You're welcome.  :) It's sad to see that this great movie didn't find its audience. Do you think that the controversy around Olivia Wilde character really hurt the movie?
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AKA23
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« Reply #4 on: March 05, 2020, 03:53:45 PM »

I think the criticism did hurt the movie, yes. Certainly critically, and potentially also commercially, since I think a lot of people read reports on that, likely made judgments, and then chose not to see the movie even if they otherwise may have been inclined to do so. I think the lack of interest in seeing a movie of this particular story likely had a bigger impact commercially than the controversy though.

That was a great review, Batfunk! I love your point that "True Crime" centers around a journalist who saves an innocent man while "Richard Jewell" centers around a journalist who brings about his condemnation. That's a thought provoking point that never occurred to me when I watched "Richard Jewell."
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batfunk2
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« Reply #5 on: March 06, 2020, 05:47:58 AM »

Thanks AKA23 :-)

In France we had a big controversy, which still lasts, around Roman Polanski's latest film, "J'accuse". But his film was a big success in France.
  These are two very similar films, with one criticism against traditional media, using old cases to calm the game.
They perfectly reflect our era, when the traditional media (wrongly in my opinion) have lost the confidence of citizens in the profits of social networks.
Ironically, it was these same social networks that did a lot of harm to these two films ...
American Sniper, sold as a stupidly patriotic film (which it is not) is actually more unifying than Jewell, an intimate film at the time of the triumphant blockbuster.
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