Another high for Denzel Washington and Spike Lee

On Friday, August 22nd, Friday, September 5th, opened at Higest 2 in the cinemas. This review is based on a demonstration at the Cannes Film Festival.

Spike Lee, like a few other directors, can move the tones in the middle of the film-and in the highest 2 lowest, he swings the pendulum as hard as possible. Based on Akira Kurosawa’s crime drama from 1963 from 1963 High and low (As well as his inspiration, the Roman King’s Ransom by Ed Mcbain. To say that the couple is still and separated after all the years and all their successes, would be a massive understatement.

However, it doesn’t seem to be that way at first. The story of Higest 2 Lowest of kidnapping, class and moral dilemma brings Lee back to New York City, its hometown and the backdrop for some of the most important entries in his filmography. ((Do the right one And 25th hourTo name a couple.) But the liveliness that the city gives that these films are being created for a while in this case, which is opened within the comfortable, convenient Brooklyn Penthouse by the record producer David King (Washington). This happens, although it is the initially stilted quality of Howest 2 the lowest and sensory attack by Howard DROSSINS incessantly, oppressively soap opera piano score.

When the action ever moves from these scratchy borders in the early attempts – decorated with expensive works of art that represent black history and pop culture from Lee’s own collection, and the magazine comprises Kings’s achievements, it should be shown that this is a story of two new Yorks. In the figure occupied by the main character, he slides the reef -raff on the sidewalks in a luxurious SUV. Even something as simple as a shot of a long series of police cars that arrive, as soon as King calls her to report the obvious kidnapping of his youthful son, speaks how the city differs according to its will. The fact that the child is thought to be an eight figure is actually the son of the less wealthy driver of King, Paul Christopher (Jeffrey Wright), this separation into the focus-like the invited question, whether König still pays to save the child.

However, as soon as he is pushed back into his old Bronx district by the kidnapper (played by $ ap rocky), the highest 2 lowest radical transformation is subjected to the most electrical filmmaking of Lees career. King is found in the other New York, who, after the breathless chase of another Big Apple classic, the French connection, through overcrowded roads during a parade in Puerto Rico into the U -Bahn into a train full of fans who were wrown into the U -Bahn on the way to the Yankee stadium. Here DROSSINS accelerates score and becomes more driving than a button. The fabric of the graphic – with the friendly approval of the cameraman Matthew Libatique – goes from cold and strictly sultring and more structured. This sequence proves that Lee is not a king who endeavors that money and influence have not watered down his talent and his authenticity. The director has neither missed one step nor lost contact with the city.

In this look at modern black wealth and contradictions and what it means to make it in America while they step on the back of other people, Lee rooted the more intimate drama in the king’s relationship to his right man. Christopher is King’s friend and loyal confidant, whose prison stay and conversion to Islam make him an immediate goal of suspicion of the police. Wright is adequately small in the role and transmits Washington in a story how prosperity all consumes in its area. This has the additional influence on the fact that Washington can transform its ethical puzzle into fascinating, Shakespeare Soliloquia.

If there was doubt that Washington should be seen as one of the largest performers of the screen, the highest 2 lowest should bring you permanently to rest. It creates a whole story of the struggle and ambition through mere eyes and fleeting exchange, which is embedded in its striking bombast. In the course of the film, his ego focuses on a way that King Lear also corresponds to benefit from the action star charism in Washington, for an exciting final act that culminates in a visceral and explosive confrontation about the glass classification of a recording status.

Lee has not only turned a clearly New York story with the highest 2 lowest: it is also modern technology, social media and parasocial relationships, of which king is easily not aware of – until he becomes his victim. It is a film through which Lee is confronted Allegations that he is not in contactthrough the design of a character that was slowly removed from its own culture and history through wealth and success until it is forced by circumstances that go beyond its control (and in many ways from its own production). The more lee the world opens under the ivory tower of the king, the more it reveals a desperate reality that is outlined in colors of anger and despair and forces him to take over the world he has left behind.