The Lost World: Jurassic Park tonight at 9:15 pm on TMC.
The second part of the story Jurassic Park, The Lost World Steven Spielberg formed one of the most amazing parts of his career and perhaps a very important milestone.
The director is never running after a sequel, except for the story Indiana JonesHis choice to manage the sequel Jurassic Park Almost the exception to his career. The film is often defended and frequently criticized, The lost world Alternate explosions and failures, sometimes in the same sequence. Let’s try to understand the reason.
The screenwriters are trying to escape
Jurassic Park There was no lack of suspense or thrill, but the lines of great family entertainment never left. This was also the main difference between the feature film and Michael Crichton’s novel that it adapted (we describe it in detail in our file dedicated to the difference between text and its adaptation), since Steven Spielberg has chosen to limit his cruelty extensively andGraphic violence. However, through his pursuits, he often seems to be inspired by his desire to give free rein to prehistoric hunters, as if he were delighted to see their characters disintegrate.
A darkness that comes from the beginning of the film, when a child meets a group of Comsoganathas, both players and lovers of fresh meat. Spielberg will tell John Hammond a few minutes later that the girl is alive, but the audience will not be mistaken. This is an innocent child who has just turned into a meat pie In front of the director’s cameraAnd.
Is it an isolated wave of sadism? Not really. The sequence of attacks on the truck, ending with a rare intensity, the only true heroic hero, swallowing the whole frame of the unfortunate Eddie, who saves our heroes and especially thanks to a session of brutal breakup. A less sympathetic character, the hunter played by Peter Stormer will also deserve an exceptionally extended death, giving the audience a chance to testify. A specifically tried reverse victim.
Taunton Steven when the kids started smoking in the shower
Spielberg’s rage is also found in several secondary road exits. Whether his camera is fixed on an extra-broken body trampled by the T-Rex, or the panic of an unfortunate paleontologist who throws a hint of panic into the face of the same dinosaur, the filmmaker thinks An obvious pleasure in filming tortured corpsesLooking at the explosion of death as the culmination of a specially sophisticated philosophy
The results are some of the most intense spikes of Steven Spielberg’s entire career, having been incredibly inspired behind the camera more than once. When he follows the unfortunate ones destroyed by the raptors in the middle of the tall grass or when he Hunting the ruins by the same raptors follow its heroesThe director rediscovers an art of movement, a fluidity in his editing that makes him one of the most skilled storytellers in Hollywood history.
When Spielberg unveiled the fantasy machine
And yet, this creative aggression, this power coexists in the film with almost unparalleled beaches in Spielberg’s career. The famous hunt for raptors ends, for example, a pyruvate (in the most literal sense of the word) that one would think came out of a bad family comedy. This stunt is not just an irrelevant technique, He is accompanied by the camera in a very strange way. We could understand that Spielberg was looking for a break in the voice and giving Kelly (Vanessa Lee Chester) a chance to shine, but after her stunt, she continued to follow him for endless seconds as she completed her movements.
The length of this shot does not mean any internal logic, a fortuitary from an artist who has always worked with extreme intelligence on the fluidity of his movies. But here, the internal motion of the scene is broken by a shot that literally came out of nowhere. And if this crash is the most cited by movie critics, The lost world Rarely misses anything, and the Kelly character subscribes to it.
Jeff “Balek” Goldblum
Although his presence has just been exposed to the public as well as the heroes, we have to go through a long scene with formless cuts. Spielberg seems to be completely absent, as it is difficult to distinguish any point of view, an objective that would irrigate the narrative. This is almost the first time for an image makerWhich has already marked several generations of viewers with a hot iron ৷
And watching carefully The lost world, It becomes clear that with the dinosaurs and the violence gone, the director seems to be lost. Or simply missing. Look at the sequences that can be rich in excitement, because they are essential for dramatic construction. Arrival in Isla Sorna Thus a proverbial softness, Such as the arrival of a T-Rex boat disaster in the port of San Diego. Many passages that are inspired by their author.
“But we’re sure we’re hired for a Spielberg, aren’t we?”
Extinction before resurrection?
Violence and darkness, hybridized by laziness and vulgarity, form a very strange alliance, which probably explains why Some still see the film as a radical adventure, While others cannot remove from their eyes what appears to them as a divine sequel. However, its value is probably elsewhere: it announces the transformation of Steven Spielberg.
Thus, many of the film’s unpleasant passages clearly do not testify to the loss of his genius, or an artistic aging, but perhaps a form of monotony. From pyrotechnic entertainment to historic frescoes where his tunes have not been entirely successful, the artist wanders into circles. What can we do in entertainment cinema after this revolution in 1993? Certainly not a repetition or an easy rehash.
The Lost World Against Post-Modern Fading
The director doesn’t really know why he’s there, and he’s pretty clear. Ian Malcolm (Jeff Goldblum), the intellectual latecomer from the first film, is promoted here as the protagonist, which is undoubtedly great for a checkbook, but without a clear simplification of his characterization. And who cares, the author seems to whisper, When he reveals his protagonist, handsomely yawning in the middle of the subway, almost working in the sight of the camera. Between the middle finger and the note of purpose, this shot leaves a bitter taste in the mouth.
Officially the artist also finds himself. Later Schindler’s listHere is his second collaboration with cinematographer Janus Kaminski, and if we are far from the aesthetics of their previous endeavors, just watch Pentagon Papers Where Ready Player One Note that their alliance did not find the basis for Steven Spielberg’s aesthetic revival.
Should We Save Private Rex?
The bottom of the isolated plane must be reached AmistadWhich pushes all formal and descriptive weaknesses up to a notch The lost world. Nevertheless, this stage with bubble violence and uncertain form was undoubtedly essential for the writer as he wandered around in circles, identifying the problem and rushing towards a thematic and stylistic renewal that would redefine him. This was the case with early 1998 as We have to save our soldier RyanWhich is sometimes the time to maintain desperate aggression The lost worldIt manages to return to its tracks, a meaning, when in the picture, Kaminsky’s light fountain takes on texture games, which will mark the visual impression of the pair.
The lost world There may be a sick, wild, failed movie, however It is also an exciting stage in the director’s careerWhose questions and doubts are clearly displayed in the figure