Three Posters Ebbing, Missouri-Martin McDonagh – Anatomy of a Scene #1
Three Posters Ebbing, Missouri
Director: Martin McDonagh
Screenplay: Martin McDonagh
Performers the scene: Frances McDormand, Sam Rockwell
Arrived at the final bars of this fierce, moving, and theatrical tragicomedy american on ict and the ugliness of human existence, Martin McDonagh, brings the two protagonists – the Mildred Frances McDormand, and the agent, Dixon, Sam Rockwell, the likely next winner of the Oscar as the best actress and best actor in a leading role – on a collision course: the disputes and the disagreements that separated the two characters throughout the film are set aside thanks to the common goal, that is not so much to obtain revenge as to give a sense to what remains of their life.
You go on a trip to Idaho (for to go and kill a rapist, not the rapist who has killed the daughter of the protagonist, but a rapist who probably deserves it anyway). The camera lingers behind the shoulders of the protagonists, standing with hands on hips to fasten the luggage to the their tattered Sunday excursion: packed lunch, blanket, picnic, hunting rifle, which never hurts when you have to shoot in someone's face.
There is much that is not said between the two. The look they exchange fills all the silence that them grips, a silence disturbed only by the wind and the fresh of the morning: you on the left side, eyes glacial, her face to stone, impassive as has been impassive throughout the film (at least in public, leaving out all the pain only in private); he right, in a pose that highlights the part of the face burned is the culmination of an evolution of her character that denotes the development of a great narrative arc (the defacements underscore the ambivalence of the character, a gay, repressed, racist, violent, frustrated and full of anger – mostly towards himself – capable of gestures incredibly altruistic); in the centre is’ the rifle, that seems to almost separate them, space them ... that trigger is pressed? who of the two will have the guts to press it? you, Mildred? you, Dixon? we really intend to do such a thing? The questions remain pending between the two, we study fixed to each other.
For Idaho, you go hunting for the rapists (to quote the end of the fellowship of The Ring). This, however, is not Middle Earth, and McDonagh chooses this framing in the field along to close the film with a feeling of the mould strongly western: our (anti) heroes who wander away towards the horizon, towards their fate, leaving behind the three posters (on the left and facing to the contrary with respect to the room: what they have to say is not the most important, their purpose has already been achieved, now we need to go next). We are not in Middle-Earth, but we are not even in a western real: if this were so, at this point we fade to black and would start the credits and the characters should be where are all the characters when the movie ends. But we are more in the field of theater and McDonagh wants to close with the dialogue.
So we follow Mildred Dixon drive, at least for the first few miles (oops, miles) of their journey. The atmosphere of tension is broken by the woman, who goes to meet an ex-policeman, admitting her faults (she removes the armor and confesses his sins, waiting for his judgment). He will ride over, it's really changed, probably forever (the scars are always in evidence). In the end the question on the tip of the tongue of both is placed (always with her, she is still she, the stronger of the duo): we are really willing to go all the way? This is a must see. In the shot final, the room – out the window – resumes Mildred pp with an angle slightly oblique ...
... and with a gentle movement, almost imperceptible, it riassesta on the x-axis and returns to being perfectly horizontal to the window, representing the achievement of a kind of balance (mental, moral, ethical, spiritual). The future is still uncertain (“I guess we'll decide long the way” is the punch line), but both will move towards it with a smile of light on the faces tested. From life, from death, from pain.
Three Posters Ebbing, Missouri is currently programming in Italian cinemas.
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