I am what I am, I am not extraordinary, I am quite distant. Even though luck isn’t real, just like Karma, consider yourself lucky if our paths never cross. Skepticism is often confused with skepticism.
The risk is not greater at the moment of action; the real problems arise before and after the mission.
It’s a cruel world, as the old cliché goes: Everyone fends for themselves, either you kill or they kill you; Isn’t it human nature to survive the fittest?
I ask those who believe in the inherent goodness of humanity, on what exactly do you base your belief?
Reflections from the voice of the killer in David Fincher’s movie
Thoughts about David Fincher and his movie Killer
After a wonderful immersion in the history of cinema with the biographical drama Mank (2020), it is about the creation of the script of the famous and historical film of Orson Welles, Citizen Kane, in the fascinating plot of the great genius, which raises important questions about the film. A sophisticated reimagining of Hollywood’s golden age, supported by wonderful performances from Gary Oldman, Amanda Seyfried, Lily Collins and Charles Dance, as well as a magnificent tribute to the creative processes and mechanisms that guided the writing of this important work, David Fincher places us in another realm , faces the complex image of a repulsive character in the complex story of a man whose job is to kill, which is not a new subject since the birth of cinema, and offers us countless stories since the birth of cinema. We are also heroes of the same profile; The same director revisits the killer figure he depicted in his excellent 2007 film Zodiac, albeit from a different perspective. The hitman, created by Fincher from a comic book on this occasion, with a vision that preserves a characteristic philosophical order, is a cold man, but at the same time more humane and pragmatic, grounded in reality, the same reality in which we all live. He boasts of his ability to commit murder, implicated in the mechanisms of evil, although he undoubtedly experiences it in a more heroic way.
lethal nature
But here the director, the great David Fincher, hits you as you watch this neo noir with an acidic portrait, putting the viewer in an attitude of re-creation, with the clear goal of clarifying the mystery in this story that has a disturbing effect on the nature of a serial killer. the plot from his perspective. The loneliness and risk of such a character, played by the great Michael Fassbender, deserves the most important awards of the year, although it is difficult for a character with so little empathy to allow himself to be valued as an actor’s work. deserves to be nominated for an award. It’s hard to side with a hero who knows his sociopathic tendencies.
“I’m not exceptional, I just have the ability to stay out of it.”
The hero says to himself. “Empathy is a sign of weakness.”
A character with two sides, a murder calculator and a human being with a huge chain of murders behind him that he can never hide.
rear glass
He starts by introducing himself as a cold psychopath before the scenario in which someone who we don’t know who he needs to eliminate will appear; He continues the story of the customs that are the subject of his work and the rituals on which his existence is based. This is made all the more disturbing by the fascinating prologue, where the character introduces us to strategies by explaining his principles in a scene split into two shots, shot mostly on a digital set, evoking Hitchcock and his mastery. Through doses of tension, Rear Window (1954) transforms the sequence into a kind of short film that can work independently, presenting characteristic messages from the lives of the characters that appear before their eyes in the distant apartment. will carry out the order to kill; What follows is a series of whirlpools that keep you hanging on to the great anticipation that the director has created to immerse the audience in the machinations of a gripping plot that exaggerates the tragic and sadistic nature of the exercise of a hitman exposed to his own excesses. flashes of cruelty.
David Fincher
Internationally known as one of the great writers of contemporary thrillers, David Fincher (Denver, Colorado, 1962) established himself in 1995 with the film Seven, starring Brad Pitt and several police officers played by Morgan Freman, and in which he played a major character. The great Kevin Spacey stars as the villain, and Gwyneth Paltrow also appears in a prominent role as the wife of Pitt’s police officer. A movie with one of the most disturbing endings of American cinema in recent years. I believe that a shocking and unexpected ending always adds shine to a thriller. Fincher has a history of great films that have received notable nominations at the most important film awards. We highlight Alien 3 (1992), Fight Club (1999) and his spirited, wildly free adaptation of F. Scott’s 1922 story. Fitzgerald, The Curious Case of Benjamin Button (2008), Gone Girl (2014). Starting from a comic book about a character who has an ordinary appearance for an assassin but has an interesting psychology that will both fascinate and repel the audience, he tackled a dark plot that he thought was his job. Shooter, I work like everyone else.
Samurai
Directed by Jean Pierre Melville in 1967 and known in Spanish as The Silence of a Man, this polar, neo noir, one of his greatest works, is considered a model of film noir; The great star of European cinema is played by Alain Delon, who creates a very inspiring composition. A stylized, hypnotic spiritual psychological thriller, the story of a perfectionist serial killer who often plans his work carefully and is never stopped until he makes a mistake. I think this is David Fincher’s biggest inspiration as he approaches the making of his latest film.
Michael Fassbender
He was born in Heidelberg, Germany, in 1977. In 2006, he had a brief role in the movie 300, directed by Zack Snyder and adapted from the comic book by Sin City author Franck Miller, which takes us to ancient Greece. Great directors oppose this; In the movie Shame, in which he worked with Steve McQueen, he plays a high-ranking Manhattan executive obsessed with sex. With this risky role, he won the Volpi Cup at the Venice Film Festival in 2011 and the Bafta award for best actor throughout the year in 2012. he was swamped with awards for both himself and the film. Other notable films in which he participated include Ridley Scott’s Prometheus, Quentin Tarantino’s Inglourious Basterds, Steve McQueen’s 12 Years a Slave and others.
The actor’s role in The Killer, which he describes as a privilege and honor to work with Fincher, is a great choice, making him an absolute hero, chemically perfect, plotting on a character that can refer to the archetypes that cinema offers us. and again, Fasbender fully integrates into the figure of the killer, analyzing his character with an original interpretation complemented by masterful realism.
Tilda Swinton
A brief role features Tilda Swinton, one of today’s greatest actresses, born in London in 1960; a mix of Bette Davis and Meril Streep, with whom filmmakers would be dying to work with because of her acting style; He is an actor with an impressive physique, a completely personal style, from whom the audience cannot look away when he appears on the screen. Although we know that the killer will end his life while surrounded by the service and customers of a luxury restaurant, the sequence in which he intervenes in the killer maintains the tension, and the two continue an interesting dialogue that we do not know where it will lead. and when the time comes for his elimination, the viewer is left with the impression that the killer harbors suspicions.
Adaptation or inspiration?
From the fascinating official advertising poster, where the designer shoots the title with a gun in his hand, erases the letter “i” in the word “murderer” and replaces it with the hole made by the bullet, leaving a trail of blood. . Its defiant, bare-faced protagonist, enriched with illustrated characters, subtly points his working tool at us with a certain sarcasm.
Based on the graphic novel of the same name, with drawings by Luc Jacamon and a script by Alexis “Matz2 Nolent,” they create a spectacular thriller told through a series of albums with the general title Backfire. Released in 1998 by French publisher Casterman and more recently in Spain Published by Norma Comics, The Assassin’s saga concludes in 2003, with a special edition of these books totaling five volumes currently collected in a box containing a notebook of sketches, making it one of the great sagas of European comics. One wonders whether this is an adaptation or whether it is the inspiration that Fincher received to make his film. In fact, we are faced with a specific film of the director in which he pays tribute to film noir, returning to its great themes and making use of concepts generally used in the language and characteristic style of his cinema.