New Netflix thriller in which Jake Gyllenhaal, as a 911 hotline operator, rescues a woman from a hostage without leaving a call center.
Joe (Jake Gyllenhaal) was suspended from police work for eight months. The brave patrolman now sits on a wire in the 911 call center all day long. Not only is he a gloomy and uncompassionate guy, but his ex-wife for some reason does not allow her daughter to call, colleagues wish good luck before the upcoming trial, and a journalist terrorizes her cell phone. awaiting recognition for THR. On one of the night shifts, Joe gets a call from a woman with a sickly tender voice (Riley Keough). She was kidnapped, and the children were left at home alone. Without leaving the control room, Joe will deploy a whole operation to rescue babies and a woman, whose situation somehow touched the heart of a seasoned cop in a special way.
In 2018, Jake Gyllenhaal undertook to produce an English-language remake of the Danish thriller Guilty, which won the Audience Award at the Sundance Festival that same year. In principle, it is understandable why the performer, who is famous for his careful selection of roles, laid his eyes on this story about a man with a personal hell inside. After, for example, "The Stringer" by Dan Gilroy and "The Enemy" by Denis Villeneuve, it is clear that the actor is very good at pulling the vein of madness on the screen. And policeman Joe is engaged in such a strong self-digging that he fits perfectly into the pantheon of heroes on the verge of a nervous breakdown. It is equally important that this is a one-man movie - Gyllenhaal's close-ups are at the forefront here. And finally, the original script is just a decent example of a thriller, in which all the suspense is concentrated on the other end of the telephone receiver.
Antoine Fuqua, the author of the films "Training Day", "The Great Equalizer" and "Lefty" with Gyllenhaal in the title role, joined the project as the director. In the hands of an experienced director, the already intimate “Guilty” becomes even closer. The plot is tied in a large open space, where all the operators of the rescue service are sitting. The second act develops already in the twilight of a separate office with gloomily lowered blinds. Together with the space, the soul of Joe also shrinks, who really wants to save the hostage. In the finale, however, catharsis overtakes the hero on the floor of a dazzling white toilet cubicle. The less air remains around, the more the expression of the cinema manifests itself: the light becomes harder, the angles become sharper, the editing becomes more dynamic. In general, Fukua honestly holds the viewer by the chest throughout the hour and a half film, where only they do what they say on the phone.
One of the screenwriters of "True Detective" Nick Pizzolatto adapted the Danish source to Western realities. Basically, the storyline with a chilling twist in the middle is carefully transferred from the Nordic original. Californian forest fires migrated from the vital American day to the screen. Smog often interferes with breathing for Joe's asthmatic - a fairly simple metaphor for the climate of his life. It is also easy to guess what kind of guilt is gnawing at the hero of the film, filmed in the midst of protests against police violence. In this context, by the way, the well-known quotation from the Bible, put into the epigraph, sounds in a new way. Fortunately, the agenda is so neatly woven into the fabric of "Guilty" that he never sinks to the level of actual journalism. The message of this story, as they say, rises above any relevance.
Carefully! There are spoilers further in the text!
The pathos of the film lies in the transformation of the hero. While investigating the case, Joe is reliving an encounter with violence, due to which he once lost his family, work and himself. The only difference is that the cop is now out of the scope of the situation, to the other end of the line. At the trial, he decides to speak the truth.
Guilty is a benefit performance by Jake Gyllenhaal, who keeps the viewer's attention with just a play of his facial muscles. History does not sag for a minute. This is an example of a remake that adequately transferred the events of the original to a new cultural environment and gave them an appropriate national flavor. And despite the fact that Joe seems to be facing a long prison, good thoughts about hope for humanity come to his mind after watching.
This article was sponsored by Hasan YILDIRIM
コメント