In rolling out disappointingly boring Western “Jane Got a Gun” with Natalie Portman starring
Photo: The Weinstein Company / Zuma / TASS
Moscow. March 17. INTERFAX.RU – From the film titled “Jane Got a Gun” involuntarily expect something emancipatory, that he would at least revisionist westerns – about how brave Jane rolled up her sleeves, took a gun and distributed in full to all the offenders (about the pro It is sung in almost the same name song Aerosmith). And why would explicitly feminist gesture not give the gun in the hands of a woman, when not so long ago, in another western chain of oppression tore off his black? But no – in the film directed by Gavin O’Connor (previously removed the tape “Warrior” about the boxer), all exactly the opposite
Jane (Natalie Portman) with his injured husband (Noah Emmerich), departed from the cutthroat business. followed by his gang hunts (for ringleader in it Ewan McGregor), is forced to take refuge in a house on the edge of the prairie. Soon the rest of the bandits come here, to arrange dismantling. Jane is forced to ask for help from her ex-husband (traditionally gloomy Joel Edgerton) – of which she calmly and happily lived before the Civil War, and that after the withdrawal of the army believed dead. Jane and her husband begin to prepare for the arrival of the bandits.
The parched prairie and towns of the Wild West (they are very nice shot) that living rough but reliable hardworking and heinous villains, create almost tangible sense of closeness. The only thing that surprised – it’s a character, Jane, that whole movie suffers beautifully. But its role is not only suffering, but also the passive. Although the case and occurs in wild times far away from civilization, then, how easy Jane moves out from under the protection of one man to another, puzzling. This passivity, there is something even domostroevskogo and fatal – and it will poobidnee than <-! noindex -> shirt <-! /> Noindex -> scientist with naked women
. If the plot of the film “Jane Got a gun” and looked interesting (well, the script in 2011, included in the “black list” of best nesprodyusirovannyh manuscripts), its implementation is the time to fix it. In a very traditional western genre (which is therefore suitable for a variety of revisions) O’Connor has reached new heights of stereotyping, creating a surprisingly dull film in which each step can be predicted.
Katya Zagvozdkin
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