Everybody Has a Plan is a must for lovers of intrigue to complete the puzzle of film noir and crime films of the year 2012. An essential piece. And very interesting for different reasons. The first reason for interest is their origin: Argentina. The locations in the area of the Paraná, a marshy landscape which takes leading role in the plot from the first moment, poses an interesting change of environment for police tangles. Usually the stories of the genre tend to develop in an urban environment. Even removing part of his distinctive personality of the personality of the cities in which they develop. Here the city of Buenos Aires is measured with the visual impact of the more marginal, rural area, where it grows a world parallel to the shore of the River. There the best-kept secrets can erupt into violence and crime. That location on the banks of the River prints Everybody Has a Plan its own personality in the remarkable cycle of Argentine police films, featuring as recommended titles as Nine Queens (Fabián Bielinsky, 2000), Red Bear (Adrián Caetano, 2002), The Signal (Ricardo Darín and Martín Hodara, 2007), The Secret in Their Eyes (Juan José Campanella, 2009) and Carancho (Pablo Trapero, 2010). But there is another interesting aspect in this film: breathe the tone of French "polar" in many of its sequences and their characters. The protagonist moves between anxiety and freedom, the dilemma of a creature of existentialism. That way, the double character played by Vigo Mortensen has points in common with those who inhabit some of the most outstanding examples of film noir French and even approaching some of the inhabitants of the Nouvelle Vague in their tributes to the genre. Mortensen is the perfect actor for this type of character who is lost in no man's land. Does not belong at all or to the city or the River, unlike his brother twin, fully integrated into the River, and that seems to be a shadow. The plot has some biblical echoes the story of Cain and Abel, but above all is a story about people who are lost. And Mortensen returns to take advantage of their ability to express themselves with the look, in a dialogue reduced to the maximum where is says a lot with very few words. This type of interpretation can fool someone to believe that the actor is expressionless, when in fact the opposite is true: making more with less.
The two women in history also deserve special attention. Two women stronger than men of the plot. As often happens in the film noir, women have a plan and men only want to live. The two women are finding their way to stop being lost. Women have a plan to get out of the maze in which they are trapped. Men do not. Claudia (Soledad Villamil) and Rosa (Sofia Gala), are another example of the economy narrative and dramatic that characterizes Everybody Has a Plan. Appear shortly in the plot, but all his appearances are essential and make them grow as characters. They are essential to show from their truth the lies of men. These keys play with the spirit of the film noir in a plot that also included moments of violence very credible and doubly troubling because they are totally credible. The murders that take place in history and are used to differentiate chapters, are not decorated for fiction. Most disturbing of these deaths is that they show how easy that might be killing. The murders opened new signs of questioning the morality of the characters, preventing that the viewer can accommodate in a free and easy identification with any of them. It is inevitable that as viewers we identify with the protagonist, but living in the lie and chased by a death, that keeps us in double tension following the steps along the plot. The skill and aplomb of Viggo Mortensen to build a character with few words forces the viewer to ask more questions about the protagonist. It is an interesting game that also affects the villain, Adrián (Daniel Fanego), another victim of the labyrinth, lost and alone. In conclusion: a highly recommended exercise of film noir in unusual landscape, with excellent work of the cast. And with a brave director who refuses to let his characters are victims of topic.
Miguel Juan Payán
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