If memory serves me correctly, this was the last movie that took me to see my father when I was a kid, or rather, the last time we went to see together. Before I had already taken to see 55 Days at Peking, Yakuza, Earthquake ... so let's say we had a good deal of entertainment entity the two, and I have it clear he was going so well as I do. Yesterday saw New York year 2012, the original title is The Last Warrior, who led Robert Clouse in 1975, I got an idea of \u200b\u200bwhat it must pass it because I have now more or less how old was he when he took me to see (or maybe even years) and certainly are the films from a different perspective of the years that a fit, regardless of the date on which the film has been shot. That's why yesterday I discovered a version of New York year 2012 was totally different from that remembered seeing as a teenager. On that first occasion, and frankly have less idea of \u200b\u200bhow the film on the inside and its Key narrative, which I expected was basically firing the monkey, which is rubber. I wanted to see Yul Brynner lemon wax dividing right and left, in plan The Magnificent Seven of the tunnel, or something similar. With thirteen years I was more interested in the exchange of blows and shots that the other characters and plots. The happy teenager, I read you.
At that time what impressed me most was what the fighter played by Brynner hand when it gets cool macarrilla and says he will die together. One way to bypass the blackmail that keeps calling me attention and which I find very interesting applications.
The fact is that it is curious how the films evolve in and out of our memory. For example, the principle is very close to The Omega Man, with the streets empty, or rather abandoned, as a starting point. Then unfolds the history of clearest Mad Max 2 Road Warrior is New York in 2012.
could say that the film narrative is structured around three main male characters (remember, are mediated seventies, they still do not operate in equilibrium and equal role with them, at least in science fiction movies and evasion). It is no accident that the story begins to reflect the view of Max Von Sydow, who plays the Baron, the leader of a gated community in the heart of the city trying to resist the pressure of hordes of wild that surround. The second view is that of Yul Brynner, a mercenary warrior Baron attempts to recruit to their side. And finally we have a William Smith, Falconetti TV series Rich man, poor man, later invade the United States against the Soviet elite troops in Red Dawn, John Milius, who also recruited to be the father of Conan . Carrot Smith plays have not been carefully worked much the name, because he dyed carrot-colored hair and everything fixed. In fact the central theme is the clash between the last remnants of civilization trying to keep alive the barbarism Baron and the Carrot betting, and in the midst of this duel is played by wrestler Brynner Carson, which already has clear first sight of which side will tilt the balance when he tells the Baron: "Every time I see her I feel that people will not last long."
And as I wrote above, at different ages differently appreciate some scenes, characters, situations. For example when I saw the movie for the first time the guy who takes care of its plants on the roof of the building seemed like a secondary ballast, in explaining the subject of seeds, but not particularly interesting. But now better appreciate these sequences on the roof where the guy looks at sunset between the buildings, a foreboding sunset view of what happens afterwards, saying goodbye to the canyons of skyscrapers abandoned landscape that has become true love after contemplating for years, in an attempt to prepare for the journey into the unknown. The music in this scene is a good complement to what we see on screen.
After watching those scenes I realized that now seems much more interesting the character of Baron, fixing watches and collecting the last traces of civilization, pictures, books, cigars ... in a futile attempt to resist the advance of barbarism. The guy has his own "Payáncueva" mounted around as a sort of protective cocoon from the outside, is the last bastion of culture, but also a dying echo of a past that has become extinct, as you know the fighter played by Brynner.
tension preceding the Baron's confrontation with its citizens and protected, with empty streets of the district in anticipation of the outbreak of violence, are a good example of suspense that also certify the skill of artisan director Clouse, custom but effective. It is in those scenes where it triggers the central idea of \u200b\u200bthe extinction of civilization, because we found that the supposedly more civilized people inside is not so, and nothing separates them in their barbarity of the savages from the outside, except that double fence to protected from the hordes of Carrot and his boys, of whom already suspected, as claimed by the fighter, who have begun practicing cannibalism.
And then, to end the story, the journey of the warrior comes through the tunnel, pursued by hordes of Carrot, through the foundation of civilization extinct, reflected in an exemplary manner in this artificial Christmas tree has unadorned been abandoned in a corner of a warehouse.
And the final confrontation, and the rats feasting ...
is the most adventurous of the story, I suspect that interested me at that first viewing shared with my father in the defunct cinema Moratalaz Garden (now a bingo hall and a gym). It is the part where Brynner fight and claims the true role of the plot.
Today is a fun part, but it seems less interesting than the other issues mentioned.
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