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SLUMDOG MILLIONAIRE: the game of your life

far more fundamentalist faction of criticism Danny Boyle has been considered little more than a modern new toy, right at the time to instill self-confidence and visual effect of drifts contemporary stories, but short of that with which said pinch as an author. Armed and narrative aesthetic intuition, the child seems to take new steps to the podium crashed. The story of young winner 50x15 version airs Indian film making small, great-in the strict etymological sense, "complacent and confident that handles letters to shower praise. The funny thing is the packaging of a story that is quilted with such conventional elements: poor environment, teenage love, spirit of achievement, tests or obstacles to overcome to scratch the happiness and the sweetness of victory.

By that paradoxical balance of classic and visual modes such as Boyle's SLUMDOG MILLIONAIRE dominated seduce, its corners filled with organic matter of a film friendly, affectionate, optimistic, just social sooty look to areas where the scatter is enlarged to epic moments of great value in film. The look is Western ours, at this stage and its characters, well-off to seek connection with the audience. Coincides with the latest poster child Fincher, a fact to be considered by the claim that both make the engine fable as expressive of dreams and the life instinct. But if the curious (and overwhelming, and melancholy, and offender, and memorable) Case of Benjamin Button looked narrative trappings of orthodoxy to filter an unusual story, the director of Million (2004) gives a vibrant and contemporary approach to traditional drama, too obvious at times, strongly expected in the last mile. As predictable as the blanket award is covering it, and placing the film between this bunch of far-reaching works of humans after stunning façade hides are not always a solid material.

There is a Dickensian part of the story pulling the strings, shaking between the present-following interrogation of the suspect Jamal triumph and the prints of the past, each of the sections by giving depth to go to the schematic approach. Boyle, spirited and as iconoclastic as ever, manages to endorse a bright, naive reflection on the fate and the consequences of our actions : life, he says the television experience excellent protagonist-actor Dev Patel , is a collection of moments, such dramatic heights ranging printing our personality and becomes a clever script biographical background to understand the story. But it does not stop settling reflective rather yields to a more bittersweet tone of the tract. The postal life assail the viewer in all their color, alternate assembly rampant and displays the director's aesthetic arsenal. It is this irresistible force of the packaging which adds new nuances to the core (and typical) ingredients of misery by revealing the way that said, love without rhetoric or excuses, pure and clean. The film features a game of space and time, also by the forceful use of language, Boyle provides business tools for drawing the unsung hero is steeped in originality.

While there

shelves swell masterpieces, this way does filter that naive sentimentality between the combined generic poses. Of the plot jumps to drawing the massive sociological interest in the program deserves separate analysis ", hence changes to complaint-machismo cinema, child exploitation," then turns to romance and he decided to settle, even labeling them with a final bit subtle (musical tribute to Bollywood included), mining concessions to an audience at this point eventful. The pieces fit, Boyle spread about them right strokes of molasses that comes to getting stuck, we just drag in two hours nice Entertainment, clear message and emotional strength. The trouble is that the taste it leaves in the memory will soon fade.