Like the immense active organisms they are, full of complications and idiosyncrasies, societies breathe, move in the directions they see fit for the circumstances in which they find themselves, advance a little, pull hard decline, grow, develop, thrive, and like all living things, so do their diseases, their disorders, their standard deviations. Among the eight billion cells of the vast social fabric that covers the world today, not all are behaving as expected and this phenomenon has been repeated since the dawn of time, when the ancestors of the postmodern human being described by Bauman were just poor devils far happier than we are , occupied only with throwing the club at the beasts that dared to enter the intimacy of their caves (if they had not previously been found by them), hunting, fishing, producing fertile offspring and dying, long before they reached the reasonable ages of an outdated existentialism God the devil, capitalism, socialism, mother, school, science, politics and of course the combination of all of that and even more so when it comes to shaping a person, starting with the person itself. The truth as it presents itself in its most beautiful, naked form, without the convention painting that soon after the disgusting Sü What stinks about political correctness is that we just can’t stand life as it comes, limited, mediocre, just , small, emptied of the slightest sense, eroded by the rabble of ordinary days, fringes to the core, from the periphery to the center. This fundamental inadequacy of being, perfectly understandable and even tolerable, degrades to a disregard for basic civilizational values, an attitude that cannot be accepted from any point of view, no matter how seductive the reasons seem, no matter how obvious the reparations.
Everyone has always needed the police, some more, some less a scenario directly linked to the multiple realities that surround us. This millennial witch, famed for her bad temper and frown crumpled by steep furrows like caves and hidden beneath the impenetrable veils of the law, is responsible for quelling crimes every day, from the most childish to the savage monsters, they fulfill role as Sisyphus. , doomed to roll a giant boulder down a cliff, only to see it plummet instantly into eternity. Defrauding the financial system, kidnapping celebrities and anonymous people, hunting dangerous psychopaths and crooks of all kinds: there are countless tasks for the police forces, which are increasingly overburdened with work due to the stubbornness of certain criminals. A Rocambolesque history of the American Police Chronicle caught the attention of Steven Spielberg in 2002 and inspired him to create new work. In the 1960s, Frank Abagnale Jr. After playing the FBI, he became known for cashing his fortune with flying checks, an expression that’s still chockfull of symbolism considering the means at his disposal projected to even higher flights in the firmament of illegality. Spielberg saw this as a golden opportunity to achieve massive success, and “Prendame Se For Capaz” exceeded all expectations and broke the bank.
The true story of the sweet, peaceful boy, a loving son of spoiled parents who was a doctor, a lawyer, and even an airplane pilot before the age of nineteen seems like a delirium, and maybe that’s just Great America and his delusions of grandeur manage to produce. In fact, Abagnale was never more than a swindler, with a rare talent for the application of swindles, the degree of sophistication of which varied according to the circumstances and the environment in which he found himself, such solid swindles calculated in details necessary for Lay people were imperceptible that he deserved to show all these talents in life beyond crime. Jeff Nathanson’s screenplay was based on the autobiography of this crook, cowritten by Stan Redding, responsible for scams that made him millions of dollars, to tell the story of a frantic search for the most daring criminal known to man America for a long time. And that’s where the film comes in, having stripped away the psychologistic icing on the grounds that led Abagnale to pursue a career as a cheater.
Leonardo DiCaprio, one of the most versatile actors in the history of cinema, convinces in the skin of Abagnale in the many and crazy passages of his criminal life, an immersive experience that takes the audience through the long journey of the protagonist, the boy who is a somewhat hazy, faithful portrait of the typical little boy from his mother to his grand entrance into the underworld of professional banditry after splitting from his parents, Frank Abagnale Sr. and Paula, main characters, though minor, in the sad paths that Abagnale strides, with Christopher Walken and Nathalie Baye fence in every scene they appear in as if they were their swan song, that flame of heart, that burning heart makes what appears to be a prosaic film a masterpiece. The director’s handling of the crooked personality of his protagonist, who always, albeit obliquely, reminds himself that Abagnale is what he is because his parents have an apparent psychopathy and in fact they were is fortunately chilling with that Entry of a different type of key to complete the larger arc of the storyline.
The catandmouse game between the protagonist and Carl Hanratty, Tom Hanks’ agent and Tom Hanks plays no small part; He makes misery by embodying the sober cop, semisleazy and selfsacrificing, eager to put another rascal on the web and paint another cross on his butt without a doubt ranks in the top 5 most electrifying films in cinemas. Here, Hanks and DiCaprio hit the ball in a derby full of surprise plays, although they only meet in Act III. The two seem to be vying for the viewer’s attention, and they succeed: sometimes you cheer for one, sometimes you want the other to win. Nathanson’s sharp, humorous dialogue and the pounding soundtrack by John Williams, which fades into the background and vanishes in Abagnale and still reverberates in people’s minds twenty years later, convey the feeling of standing before a treasure whose value is only just becoming apparent confirmed over time. Crime never pays, but cinema proves that some criminals have their charms — especially when they turn their lives around, like Frank Abagnale Jr.
Movie: Catch Me If You Can
Direction: Steven Spielberg
Year: 2002
genres: drama/crime/comedy
note: 10