10/20/2015 20:04 clock <- inteaserpicposition:! 1 -> <- self.position: 1 -> <- classid: hcf center -> <- position: center -> <- inisprint: false -> <- inhaspic: true ->
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Fabric for nagging would it enough. For example, that the story, especially the lengthy preparations for the dramatic climax, is not enough for two whole hours cinema. That the costly recruitment of helpers crew whose individual characters hardly suck to sketch, abundant barren comes across. That the flashbacks remain so hastily as cute in the youth of the hero. That the English, speak broken the American actor writer meet with a French accent, begins to annoy soon. And from schneckenpostfeministischer view could be strictly point out that the only actress in “The Walk”, Charlotte Le Bon, her adored most times must serve a Stullentellerchen – unless they bared in order to smile their enchanting irregular teeth
<. p> Now, we are in the sixties and the seventies of the last century, and since you have not seen much so closely. At that time also could disguised as architects and journalists gamblers sometimes just hijack an American big city construction site and largely undisturbed staging their big coup on the roof of two skyscrapers: the dance in 417 meters above sea level on a steel cable between two high-rise towers, and eight times back and forth – eight times more than any police in the world allows. Clear rattle because only once the handcuffs, but the instant world fame immediately enforces the first-class acquittal
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It is early morning on August 7, 1974
Above all, worth the newest solo adventures of Robert Zemeckis (“Forrest Gump,” “Cast Away”) because of those less than 20 minutes, in which the viewer’s Divine plan view the tightrope walkers Philippe Petit (Joseph Gordon-Levitt) is watching with his record walk between heaven and earth – the almost half a kilometer distant Lower Manhattan is always in the background. It is the early morning of August 7, 1974 the risen sun reflected in East River, in the distance from Midtown lit the Empire State Building, just now the tallest building in the world. Until the towers came, who called the New York only contempt “filing cabinets”. But then gave this therefore traveled French windbag them their charm. Your myth. Your soul.
A little bit afraid of heights but never hurts when you look into the abyss. Also not in the cinema, with the 3-D glasses – finally considerably strengthened the thrill again – after all the pale-dimensional power farms in recent times. Nor can some acrobats laws effortlessly transferred on down to earth daily life. “If you lose your concentration,” says about Petits dauergrummelnder mentor Papa Rudy (Ben Kingsley), “then you lose your balance.” Or Philippe Argue itself, as good-humored narrator in his own affairs abundant unsecured in torch of the Statue of Liberty around turnend, about typical occupational hazards: “Most will crash if they believe they have already arrived. They still stand on the rope. “
How true this kind of wisdom, just in shaky times! For Philippe Petit, the Zemeckis built a true monument after his autobiography “To Reach the Clouds”, they are basically wobbly from an early age. First, because the father does not share the aspirations of the artists son and sells him out of the parental home. Then, because it Philippe after beginnings as a juggler and mime on Parisian streets immediately on the rope drives, where he comes up with their own, different from the canon of Circus Acrobats air numbers. And one day, at the dentist, he sees in the waiting room magazine a photograph of the construction site of the Twin Towers: Because he has to go, for those a whole biography of shining moment, for fifteen or fifty minutes of fame, for an inimitable flirtation with eternity.
With the latest digital moving image Tricks
Unheard busily inventing in detail and with the latest digital moving image Tricks “The Walk” that no longer exist Manhattan for canvas new, and actually see the in Computer rendered Twin Towers so real as the analog replica of a piece from Südturmdach. Also perfect the illusion, which Gordon-Levitt not even just in front of the greenscreen parade after his one-week tightrope course, but in extreme danger to life is at a distance of about 70 meters between the roofs on the go – with a long metal rod as the only stabilizing. In this moment is “The Walk” classic spectacle cinema, fairground attraction as in its historical beginnings, and at the same time separates the circus performers from dunnemals and visual artists of today no more than a blink of the eye.
September 11th by the way is never mentioned in “The Walk”. Yet the stopper, imperishable stored in each memory not quite young viewers, present in all the images of the towers. Become by a childish homage huge dream, to the event for a quarter century before the trauma came – To reconcile the film for a moment with the horror that catapulted humanity into the terrorist era. When would remain at the end, also an old Seiltänzersentenz, only the Beautiful
“The Walk.” – From Thursday in 14 cinemas in Berlin
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