Wednesday, November 30, 2016

“Sully” : a ditching in the us – The World

Clint Eastwood is the pilot who had landed his plane on the Hudson river in 2009, a national hero, portrayed by Tom Hanks.

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On January 15, 2009, two minutes after its takeoff from LaGuardia airport, New York city, the airbus A320 flight 1549 of US Airways was hit by a formation of Canada geese, animals such as geese, which puts its two reactors out of use. The controls of the aircraft, captain Chesley Burnett Sullenberger, 59 years old, assisted by his co-pilot Jeffrey Skiles, has very little time to react. Renouncing to go to one of the airports nearby while his plane was losing speed and flies over the city, he chooses the option, considered to be very dangerous, the emergency landing on the Hudson river. He certainly takes : the decision of experience and instinct saves the one hundred and fifty passengers, five crew members, as well as an unknown number of people from a certain death.

If the media and the general public have quickly celebrated the hero, is less known, however, that the commander Sullenberger would have been able to, as well, be attributable to an inadequate reaction and declared unfit for flight by the commission of inquiry of the national Board of transportation safety, which interviewed several times after the rescue. It is to this procedure, as it is dialectically linked to the heroism of the character, that is interested Clint Eastwood in Sully, that we must undoubtedly count as one of its success stories.

Read the interview with Tom Hanks : “Sully is obligated to explain the inexplicable”

Non-compliance with the protocol

The director sharing his film, a rather virtuoso, between the return concerned of the two heroes (remarkable and complementary Tom Hanks and Aaron Eckhart), required to justify before the commission of inquiry, and the reconstruction of the accident itself, made exhilarating by the cut-dramatic, the plausibility of the special effects, the plastic beauty. This is the grand moment of action, which saved us the hysteria of the disaster movie, is a great moment of truth that is the confrontation of Sully and members of the commission of inquiry, in which it is sensed that Clint Eastwood has made some blackened intentions to serve, putative heir of John Ford, the legend of his film. Raising the issue of non-compliance with the protocol, which would have been to make a half-turn landing, this is based on flight simulations that the hero, strong of its experience in vivo, will be shattered. As well, it is evident that this takes place before the commission is a metaphor about art and ho w to reconstruct the reality, in other words on the film itself.

Tom Hanks in the movie of Clint Eastwood,

In a crescendo hemmed, the two parts of the film up until finally at this point of fusion where the heroic modesty of a man who is content to do his business meeting with the dedication and solidarity copies of the rescuers of New York – and through them, cutting off the word, of the american people – that come to him from all sides, by ferry and by helicopter, avoid to passengers drowning in the icy waters. This is what Sully is a great movie, the redeemer of the american dream. The United States is again a nation that unites and saves.

Eastwood loves nothing as show heroes, broken, at the edge of the chasm, the size of which exceeds and yet the era in which the judge

Ghost fearless of classical hollywood cinema since its distant beginnings in the western television, a tireless teller of a national myth which he does not cease to restore the flame is extinguished, Eastwood likes nothing as a show of the hero broken, the edge of the abyss, whose magnitude exceeds yet the period which it contains, and the judge. It is as well as in the collective fervour and the miracle of the fact various of 2009, the filmmaker, apprentice mythologue, found material to repair the disaster, and the abatement of September 11, 2001, celebrating the passage in Sully, the hero lost of America, the prophet laconic of its manifest destiny. Through this man, in the end fox who knows damn trouser a story and draw the tears, Clint we replayed the big score american : the individual against the institution, the instinct against the protocol, the experiment versus theory, the belief against the disillusionment.

Read the survey : “Sully” Sullenberger, a hero in spite of himself

Tom Hanks and Aaron Eckhart in the american film of Clint Eastwood,

The humanism that emerges from it makes it all the less readable – if one allows us this release on a topic to upset her fans – the official support of Clint Eastwood, Donald Trump, including the policy project, believes we understand, is based more on dislike of the other than on humanism. Without a doubt, the filmmaker he has always supported the republican cause. Without doubt, his moult progressive great author cinema a-t-it helped to mitigate, if not the “fascism” of which the accused is a significant part of the criticism at the time of Inspector Harry (1971), the least that could be embarrassing to the image of a conservative as he liked to give of himself. The gap, however, becomes a troublesome puzzle, as soon as the filmmaker signs on one side of a film as high as Sully and spreads, on the other, in about as deplorable as those required in the journal Esquire in August 2016. In which he stigmatizes the ” politically co rrect “ generation of ” wimps “, the English referring in this instance to the ” pussies “, these ” cats “ what Donald Trump boasted in 2005 to catch the women. In which yet he mitigates the racism that can be attributed to the candidate Trump remembering that, in his youth, no one was at fault.

so it is necessary to go to the evidence. If incompatible may seem these two acts, it is indeed the same disposition of mind that led Clint Eastwood to put on stage the subtle and luminous Sully and to support a program rotting with ideas simplistic and dangerous. In this duality goes back to the double face of populism in american including the fundamental principles (stigma of the elites and the defence of the” ordinary man “) have, since the end of the XIXe century, justified the protests as well progressive as reactionary. It will be demonstrated that the light comes to Eastwood for the movie, when the shadow of the city tends to devour him.

american Film starring Clint Eastwood, Tom Hanks, Aaron Eckhart, Laura Linney (1: 35). On the Web : and


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