Reżyseria:
Tony ScottScenariusz:
Brian HelgelandZdjęcia:
Paul CameronMuzyka:
Harry Gregson-WilliamsObsada:
Denzel Washington, Dakota Fanning, Radha Mitchell, Christopher Walken, Marc Anthony, Giancarlo Giannini, Mickey Rourke, Rachel Ticotin, Roberto Sosa (więcej)VOD (3)
Opisy(1)
Zmęczony życiem, stroniący od ludzi były agent CIA John Creasy (Washington) otrzymuje od swego starego przyjaciela Rayburna (Christopher Walken) pracę ochroniarza dziewięcioletniej Pity Ramos (Dakota Fanning), nad wiek rozwiniętej córki meksykańskiego przemysłowca. Dziewczynce wkrótce udaje się zdobyć sympatię Creasy'ego, który z kolei, pod jej wpływem, zmienia swój niechętny stosunek do ludzi i otwiera się na świat. Gdy Piata zostaje uprowadzona przez nieznanych sprawców, Creasy, mimo, że ciężko ranny, poprzysięga zemstę. Nic nie jest w stanie powstrzymać jego szalonej wściekłości i determinacji w dążeniu do uratowania dziecka. (Imperial Cinepix)
(więcej)Materiały wideo (1)
Recenzje (9)
Tony Scott is back in form at last. He didn’t hesitate to incorporate epileptic editing, violence and outstanding actors into a raw story about a girl being kidnapped. With a different cast, this might have collapsed like a house of cards, but when the main protagonist is played by Denzel Washington as a devotee of the “dark side", this clearly leaves no room for any humor. Especially when revenge tastes best when it’s cold blooded, isn’t that right?
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Although I didn't believe it, Tony Scott is capable of a sensitive and unique approach. In other words, he indulges in flashy playfulness only in action scenes and when bringing together a large sad bear and the cutest child movie star of recent times, he keeps the camera still and lets the atmosphere take effect. Thanks to this, the sensitive moments stand out and the twists are filled with emotions to the breaking point. A perfectly crafted piece of filmmaking, created with love, to which the story naturally lends itself.
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*** Spoilers! *** Tony, you’re a good action director, but you don’t have what it takes for a rousing story about a man’s redemption with Lisa Gerrard’s (suspiciously familiar) vocals. At least not for such a subject in an eccentric pop guise. You fail completely in the dramatic construction of the story. You make me emotional in the first half, make me fall in love with the little heroine, and then you want me to feel catharsis during the elimination of her killers without shedding a single tear for her. Your protagonist takes revenge not to rescue her, but for the same reasons that Van Damme administered scissors kicks back in the eighties. The second half of Man on Fire thus becomes just a dull action flick with no dramatic connection to the preceding plot. The “surprising” point is then just the final nail in the muddled coffin. Besides Denzel Washington and couple of music-video-style sequences, Man on Fire has one big positive – Dakota Fanning.
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Scott overdid it, he exhibited too much for my taste. His nervous camera games were too frequent, even annoying, I would say. The simple script was not devoid of logical nonsense, but the ambiguous ending was quite a pleasant surprise. Washington repeats himself as an actor, essentially performing a variation on his Oscar-winning Training Day (you're right, sepp). It was nice to see Walken in a different than his traditionally villain role, and I was pleasantly surprised by the leading girl who gave a very convincing and natural (for a child) performance. Finally, a cool line from a conversation Washington (about to assassinate one of the bastards) has with an old man: "In the church, they say to forgive." – "Forgiveness is between them and God. It's my job to arrange the meeting.”
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Classic American Rambo revenge morality covered with the skin of a top techno-thriller form. The lemonade motif of the pursuit of justice and the pursuit of the last shudder of love in the soul of the bestial good guy didn't really irritate me, because Denzel Washington, the killer with a human face is good, and Scott even serves the loving relationship with little Pita in a tolerable way. The dumb content is clearly overridden by a selective form, a high-tech camera, perfect editing, and a clip-like incorporation of a musical undertone. Maybe if the story didn’t take itself so deadly seriously and some of the really forgettable dialogues were left out, Man on Fire would have been a very good, low-value film. Especially thanks to the directing and technical implementation, I was quite interested in the story, but I was definitely not satisfied. There's something infantile stupid about it, and Tony Scott can pull any sort of fat rabbits out of his hat, but this fact can't be disguised. A stupid action film in a selective guise with good acting.
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