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Review of the movie Voice of the Monster. Three stories (Topic)

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Review of the movie Voice of the Monster. Three stories

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In 2010, H.A. Bayona makes the movie The Impossible -a picture of the earthquake in the Indian Ocean – and receives the Goya Award for Best Director. In 2016, the Spanish director again turns to the theme of the elements, but already the one that beats inside us, and in the new work "The Voice of the Monster" everyone can hear.

Written by Patrick Ness, based on the 2011 novel of the same name. The first lines of the picture are quite bold, well traced and tangible: the gloomy rogue boy Conor 12 years old (Lewis McDougall) is beaten at school, at home he takes care of his seriously ill mother (Felicity Jones), and the arrival of his grandmother does not make life easier at all (although her wonderful Sigourney Weaver). At some point, the boy's "system" crashes, and a yew tree looks through his window, which tells three stories made in the form of animation.

About 30 artists, 4 hydraulic engineers and illustrator Jim Kay worked on the creation of the tree under the direction of Eugenio Caballero. The height of the monster was about 12 meters, the neck was made of a hydraulic structure, and the rest of the parts were made of construction foam. The monster was played by Liam Neeson using perfomance capture technology, but, perhaps, especially sensitive phantasy addicts will be able to guess in the yew wrinkles of Neeson himself. However, this is not the only fascinating moment: after three stories, the monster demands from Conor a fourth - the one that the boy hides very deep under his crown.

Here the line of the movie gradually begins to thin out, schematic, long-familiar characters acquire volume and the movie is already ready to appeal to a different age category. From the dizzying black abyss, the smaller and larger viewers are looking at something more terrible than a huge tree – metaphysical emptiness. Desperate painting begins to stir under Connor's neat uniform. The regular, strictly built world of school and hospital confronts a sad boy with a living heart.

The director of the movie, Oscar Faura, managed to peer into the material and convey its depth and contradiction: the upper angles that he chooses do not at all entertain with a beautiful image, they allow you to see little Conor hanging on the edge, letting go of his fear. The color scheme of the movie is restrained, sometimes gloomy – Conor has no time to admire the sunny world around him, and he doesn't want to, so he draws his own. In general, there are a lot of photographs and drawn in the movie - frozen moments, a desire to slow down time in order to be with those who are dear. “Five more minutes,” Conor asks mom.

Someone will remember that they have already run in a similar maze del Toro, but "The Voice of the Monster" is also not so simple: the movie makes you wander through the back streets, colliding with yourself. Undoubtedly, the picture has a suggestiveness, touching the viewer with branches. In Spain, the movie has 12 Goya nominations. By the end, the picture is gaining momentum, plunges into a deep phase of sleep, and then gently displays it, leaving it alone with subtle music. The monster's voice died away, but he promised to be there.

The Topic of Article: Review of the movie Voice of the Monster. Three stories.
Author: Jake Pinkman


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