LA at the lowest, pitch-black night, as I do in the summer of 2008 during my trip to the learned when the U.S. West Coast, an impressive ehrfurchtegebietender impression - on all sides sprawling sea of lights, which give together one of the biggest cities of our planet its distinctive image at night - and they are yet but few scattered and isolated from each other. LA offers a repellent, hard, harsh, cold beauty in the brilliant lights of a lonely patch full of lost souls - and that this feeling starts "Collateral" is a perfect, and thus embodied the City of LA therefore one of the main roles in this outstanding thriller I allowed myself today for the second time take to heart.
Vincent, the ice-cold, ruthless killer, is one of those round-scattering, lonely souls. But sometimes this buzz, apparently in search of a goal (in Vincent's case, it is the killing of five targets, but this is not apparent from the beginning) as wisps around and collide with other sparks and lights and deform their career. So he meets by chance - and this is a significant and decisive factor, and also a leitmotif in the film - the cab driver Max, who is chauffeured him to his victims. Max becomes Vincent's latest, as the first target on his car ends up wind of the machinations and attempts to put up against the sinister assassin to defend and prevent further killings.
It flares up a gripping, psychological battle between the two protagonists, a clash of two stray dogs, and yet totally different people. Her constant fencing and reluctance Max ', the contract killings to be partly responsible, culminating finally in an almost philosophical-inspired dialogue, where the lines are clearly defined - and let the audience but in the dark about Vincent's true motives.
Vincent is a nihilist - he leads his murders is not because the "good" or "evil" is used (in such a black and white drawing of strips dispensed fortunately), but because he does not care who he kills . The question is why the irrelevant to him, he takes his job in cold blood, yet as faithfully as any other normal employee - it it does not care who instructed him and whom he kills, and it is not even clear whether he does it out of pure greed. Life has for him, in contrast to Max, who still desperately clings to his dreams of a VIP limousine service delivery, lost its meaning, he has adopted a fatalistic world view and therefore acts as emotionally untouchable and cruel. By this to be a rather unusual attributes (recall the anarchic tendencies of the Joker from "The Dark Knight", his atrocities and not just the chaos exercised for the money) and his complex character, he is a very interesting character, even if his motives are difficult to understand. Nevertheless, the film gives time and again little insight into his battered soul, such as a symbolic encounter with a lone, stray wolf in the empty swept streets of LA - the wandering animal reflects Vincent's against inner loneliness and isolation and allows its unapproachable facade for a short moment crumble.
is sustained, the representation by Tom Cruise's Vincent's eerily authentic and downright hypnotic game - to buy him the role of the killer at any time from, as it the entire register of his acting skills here and subtracting embodies each fiber with Vincent's conviction.
Max Durocher, the taxi driver is, Vincent's strongest competitor - and he does mainly by its completely opposing moral views. Thus it becomes a far greater threat to Vincent's project as the many armed bad guys who stand in his way and be mowed down with ease by Vincent. The character of Max is a very remarkable and transparent development in the course of the film through - at the beginning or is he really involved in the role of a hostage, he later rebels against his real scourge, the fear of action (which it long held it to fulfill his dreams - which raises him Vincent also time and again, making him turn, makes you think), outwitted Vincent to his new-found acquaintance, the in turn, happens to be emblazoned on Vincent's list of targets to save the killer and is growing beyond itself Vincent is told from the POV of the plot, is the central wire of the audience for the film - which is why he also provides a striking counterpoint to Vincent dar. He is vulnerable, anxious and therefore also more humane than the hit man - this is mainly by Jamie Foxx convincing and emotional acting is impressive proof. Particularly noteworthy was the scene where Max schüpft in Vincent's skin, since these remain ikognito want, and with the Mexican Order opponents speaks because he has his file on the list of persons targeted by Max's lost the action. It sprouts for the first time in courage Max, and Jamie Foxx this celebrated actors in the film itself in an excellent manner.
Despite Max's vehement attempts to Vincent at least something to stop - the unstoppable assassin performs his bloody rampage through LA, and thereby also the namesake collateral damage takes effect. The film aestheticized the violence, but at the service of the film - it is presented "warts and all hardness, without ever seeming overdone. It all fits into the framework of the film and also represents the nihilistic attitude Vincent - because life for him the beginning of his sense mentioned has lost, he also empathy is lost, and so out innocent people in his line of fire, and not only his targets. This is a first, the aspects contributing to the hard authenticity of the film.
Another factor is the brilliant look of "Collateral", which is characterized by a smooth appearance - was the film that is 80% with DV cameras, which digitally rotated, and it shows him clearly. The movements are much smoother, engraved the image is sharp (as the film takes place mainly at night was the use of DV cameras, a logical and well-considered step - these are much better suited for low light scenes equipped than conventional cameras) and the scene appears, paradoxically, precisely due to the realistic and not very close to the protagonists moving mise en scène staged, but as a snapshot of real life.
The juxtaposition of the settings is like a casting, in some moments of hectic, but then again inspired by a strange, nervous silence, to return to scenes of pulsating voltage, and also has some unusual, but the concept and framework of action vorzuweisen suitable settings.
The contract killings in this case form the sea of action of the film outstanding islands that shine through a particularly successful production and implementation. My personal favorite scene is the state of 4.Auftragsmord in the nightclub "Fever" - along with the driving, ethereal music, the smooth implementation and the perfect symbiosis of sound and image, one through the dancing crowds overwhelming, almost tangible atmosphere and a climax that into a gripping and authentic implemented shootout opens, revealing once again the cold and hardness Vincent's in all their splendor unscrupulous, this scene is a masterpiece of dramatic presentation and staging skills.
The soundtrack of the film is another successful feature - the bulk of the film contained pieces consists of "diegetics" that is in the film reality played music, which consists of stirring and matching songs, the atmosphere of the film perfectly under paint. The film's own, inflaming and successful soundtrack also comes in various scenes.
can the plot a certain linearity blame - after all, chauffeured Max Vincent yes only one place to another, and the subplot with the detective who sees through the case as one is terminated abruptly - that have the back stories of the protagonists, but many facets and enrich the story.
"Collateral" is a dark, spooky real lucid, feverish dream, consisting of rapid succession successive horror visions of a nihilistic spirit that only a single, bitterly defended against light, which rebels against his inner demons can be stopped - Michael Mann has a brilliant thriller and also a manifesto about isolation, morality and powerlessness, interspersed film created by technical finesse and skill.
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