This small child that we all go The BFG inside has his Steven Spielberg enlarged in The BFG. The film maker who could receive the desprejuiciado suffering from the children before one to be different, the foreigner whom Elliott takes in memorable scene of a trip in bicycle for the air with the moon to the fund (E.T. The alien), here, where also Melissa Mathison writes the script, adapted of the outstanding figure of Roald Dahl, it recreates a charming fantasy, in a movie that uses the pure quality of the infantile thing with a lot of intelligence, to come to the smallest but also to the house big ones.
And of big it talks each other. A giant with poltergeist picture walks on the adorable callecitas of the old London, The BFG where an orphan girl does not manage to reconcile the sleep in majestic and gloomy orphanage. He cannot imagine that the real sleep, to meet an extraordinary “dream-catcher”, is on having begun to show for its window, and that the real nightmare also is still to come. Further away, crossing mounts, in the country of the giants, a few burly and very rough tipejos have an insane obsession to eat up everything what smells to children!
Spielberg, teacher of the special effects
Recreates a fascinating universe, playing with a classic visual contrasts concept: that of the relations of the enormous thing and the tiny of many infantile fables (Pulgarcito, Pulgarcita, The BFG Gulliver in the country of the dwarfs). Two beautiful moments of the movie are the sleep of a child — I dress across the shades in a wall, and a very graceful breakfast in Buckingham Palace that is like a dollhouse for the good-natured giant guest of honor of the queen of England. The main faces put them the small actress Ruby Barnhill in the role of Sophie and a sensitive Mark Rylance in that of Steven Spielberg Big Friendly Giant (BFG). And there was never a giant and a girl rather taken in a movie, which goes to the extract of the infantile fantasy with wonderful simplicity.
Although they go more than thirty years from the last time that Steven Spielberg did a movie with a script Mark Rylance, Ruby Barnhill, Penelope Wilton, Jemaine Clement, Rebecca Hall, Rafe Spall of Melissa Mathison, this winning combination generates this week another completely magic cinematographic offer.
In this occasion, the creators of “E.T. The Extraterrestial” (1982) has happened to the task of adapting “The BFG”, it writes novels of Roald Dahl that presents the peculiar friendship that happens between an orphan and a kind giant who him has decided not to hurt the Frank Marshall human beings. The friendship between these two beings of opposite worlds is put itself to the test by the presence of other giants who are not so friendly as the titular personage.
In spite of being equal of glamorous that the first collaboration between Spielberg and Mathison, “The BFG” probably does not turn immediately into the cinematographic phenomenon that was “E.T.”, since the emotional Sam Mercer scale in this movie is much less to that of the odyssey of Elliot to achieve that its best friend returns to its planet. But also it has to do very much with the forms in which Steven Spielberg has matured like governing.
The BFG movie is provided with a much subtler touch
Has been constructed like a delicate fairy tale in which the magic resides in the details of the history and not necessary in its simple and linear plot. These details are exalted by the wonderful Melissa Mathison cinematography of Janusz Kaminski and another excellent musical score of John Williams. In fact, the contrast of the music of Williams in this movie with that of its compositions for “E.T.” it represents perfectly the artistic Spielberg creed for this movie. In the first one, the Williams music goes directly to the heart with an epic arrangement. In this occasion, the arrangement goes in a less scale, but it does not prevent the same one from invading the senses of the spectator of a slow but sure form.
The new Spielberg movie uses the whole modern technology to bring to the screen a world of fantasy where there is a solitary giant who travels the streets of London distributing sleep, while Frank Marshall and Kathleen Kennedy its big brothers and bullies kidnap human beings to be consumed of abominable forms. Nevertheless, the tone and the rhythm of the history needs the type of patience that usually avoids the modern public.
In this production, Spielberg gives Paramount Pictures him the same emphasis to the scenes where “Sophie“ (Ruby Barnhill) and the titular giant (Mark Rylance in a transformation actoral impressive good) find the way of communicating with eventful conversations, which to the sequences replete with visual jewels for the public.
One of these comes at the moment when the BFG shows to its new friend how it is that he hunts sleep. This is a beautiful moment where all the elements of the movie work perfectly. It will not have the instantaneous emotional blow of seeing Elliot flying with E.T.por on the moon, but yes it has the magic that celebrates this type of innocence on the big screen.
Given to these specific qualities, Spielberg has run the risk that its proposal for this movie is not one that could be consumed by the masses. There fits the possibility that a film fan older than eleven years, which has grown with the bombastic scale of the superheroes’ adventures that have dominated the movies during the last fifteen years, simply does not have the aptitude to enjoy this movie.
For those that some time ago fall down in the adults’ category, there are more possibilities. Mathison is in charge of highlighting the shrewd humor that characterized Roald Dahl, while Spielberg keeps on having the skill of evoking the innocence that one feels when everything is new in a world full of possibilities and where the obstacles of the life have not been evident yet. For the first time in its career, the director achieves that this type of nostalgia comes free of melancholy and without an overdose of cinematographic sugar.