The with the projection of fiction versus facts, that was then. Who today writes a thriller that does not play on distant planets, but for example, in London, has to provide that such a book after a season is not even waste. Refit of an unfettered reality that hinterherkommt the panic attacks of capital, the madness of the pious and the maneuvers of the powerful little more.
The author John le Carré thinks of all this unswervingly to the genre of the fact-rich, plausible novel , There are with him in general, the secret of which everything depends: law and truth be dominated by the double agency, you never know with certainty who is playing what game. 2010 saw “Our Kind of Traitor”, which has now been adapted by Susanna White on the canvas, but especially well for mitproduzierenden video channel Amazon Prime.
Moscow and London are the coordinates in a story that the way follows the money from East to west, in between, there are stations in Marrakech and in the Swiss Alps. Ironically, a professor of poetics named Perry Makepiece (Ewan McGregor) gets into a global conspiracy, because he is at any given time by chance at a specific location: within earshot of a Russian party animals, which proves to be an accountant of Mafia
<. h2> reserve against the concrete
His name is Dima, Stellan Skarsgard plays him with a lot of desire to cultural cliché. But that goes for the whole film, which provides in the confusion of a circumferential money laundering process for order by all perfectly match their type: a rangy English intellectual, a crude, gruff Russian playboy, the icy Russian oligarch with Hipsterbart, a weak-English intelligence, not even in their own organization has support. The realities of the financial center London, which is flooded with money from not always transparent and impeccable sources, form in “Our Kind of Traitor” a background that differentiates about as presents itself as the repeatedly interposed shots of the skyline.
Ewan McGregor Perry in a scene from the movie “Our Kind of traitor”. The film comes on 07. 07. 2016 in the German cinemas.
That a man of letters in the world of money (and violence) device, is a dramaturgical gimmick, the le Carré has been copied in Hitchcock. Ewan McGregor is as a performer so predisposed, that one rather has trouble him remove the literary scholars as the layman agents to which it is gradually. There is a funny, totally unrealistic lecture scene that is reminiscent of many other comparable in other films – the cinema has a profound fear of the specific in such situations, so that academics usually speak as if they were at a community college. This replacement against the concrete pervades the film but also on a more fundamental level, because the financial intrigue is understandable only in the most gross trains. But the level of corruption, claiming the movie is so scandalous that it would be appropriate, as a little more to look.
Abstract concretely tell
The is the reductionist logic of a narrative against which up everything not so much have to focus on figures, but on deputies or officials. Even the relationship of Perry to his wife Gail remains vaguely in many ways. In the novel, she has a voice in the film, it has nothing to say. Anyway Susanna White leaves that has worked before, especially at miniseries for television, primarily on the vitalism of Stellan Skarsgard. A Swede who represents a code of honor as a Russian who radically limits the number of allies. They fit in the end all in a van while catching the conspirators against the common good, the half City. Inevitably any case before the final punch, which acts like a consolation prize.
“Our Kind of Traitor” is currently also developing “The Night Manager” measured, a six-part series, which is based on another novel by John le Carré. However, the format question is misleading. Whether one tells a complex operation on 100 or 360 minutes makes sure in many ways a difference. But behind aufscheinende, more relevant question of representations of increasingly impenetrable acting subsystems of world society remains unaffected by the length of the story.
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the ironic proposal of the young Godard, surely one could even film the French tax laws prepared contained, the whole problem: These laws obviously exist only in the abstract, they will be told only where someone is affected. Perry Makepiece is affected by the cash flows in the City of London in many respects, however, the film is blind to these implications. So then runs up everything on a male friendship or addition that this Dima is simply too sympathetic, than that you would not have him tear out of the mouth of the Russian mafia. Susanna White has made a film that it is so cozy set up in the fictional, that no one should be surprised if you prefer to look for relevant reference books.
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