The film career of Juan Antonio Bayona shows two things, first, shows interest reflect melodramatic intensity feelings born of tough situations, something that usually bring the viewer to places outside their comfort zone. In addition, it has a capacity to wrap this intensity in breathtaking images, plastically perfect, supported with a pompous use of soundtracks.
In his new film, ‘A monster comes to see me’, the director has chosen a story that allows you to show off her two facets, covering the recent path marked by ‘ Pan’s Labyrinth ‘ (2006), in which childhood He confronted with the difficulties and horrors of the real world through a gymkhana fantastic with fairy tales as a thread. A kind of film of initiation for anything outside our films, a pioneer in Carolinian delusions as a metaphor difficult childhoods with ‘ The Spirit of the Beehive ‘ (1973).
Beautiful fall color composition
However, the story of Patrick Ness gets rid Portrait of times and political implications and directs its symbolism to pure drama and monsters to a Jungian representation of everyday dramas. Conor, the protagonist, is able to create his drawings with a presence born of his sub-cosciente as an escape route to overcome the daily lives of the illness of his mother. A film like ‘conflict Paperhouse’ (1988), in which a child also created an imaginary world through his drawings.
There is a beautiful palette of colors throughout the film, which reaches extremes of unreal beauty when entering the worlds of animation in which the monster explains his fairy tales that the best of all, thanks to its original animation. These small pieces of art are scribbled something so irrelevant stories and their forced relationship with the conflicts of a child who sees his world is falling apart. When angry with the tree by the uselessness of these stories, it takes much more reason than you think.
And the biggest problem with ‘A monster comes to see me’ it is its lack of subtlety. Giant strives to explain warm and solemn voice, reciting lines of script that try to twist his parables until they seem bright reflections of the true nature of human beings, when they are actually redundant echo on the same ideas. And that repetition is not limited to the fantastic moments: in almost every scene there is someone who is responsible for reciting and make clear what it is about that scene.
Catharsis too artificial
Things you learn Conor are left us so clear, that the only thing missing are signs indicating that towards the end, little will learn the lesson of his life. See, everyone knows that her mother will palmar. Everything from the beginning, seems to be carefully planned for that great moment. When finally, after much fatigue, comes the great climax, there is an unexpected, complex and so alien to the previous management of the conflict is a revelation catharsis too artificial.
Once exorcised hidden feelings, we are placed in front, tied and eyes as Alex DeLarge receiving the Ludovico treatment, at what seems the real purpose of the function: a desperate bath drama of the hand of a character walking towards acceptance of self – consciousness, our obsolescence and its inevitability. As overwhelming as death itself argument that it is hard not to be touched inside, but of course, they would tell who has already been there.
Does it make sense that bitch sample of what life can be for some? It can help overcome something, perhaps who has lived it cannot find much comfort, but will see a calculated manipulation, use of suffering as currency with a is made pornographic choreography pain. The fact itself does not detract nobility to attempt to Bayonne to recreate effectively an intimate moment of fictional characters, but on which, sure, reflect many people we know.