In 1954, the two federal agents Teddy Daniels and Chuck Classrooms are sent by boat to Shutter Island, off the east coast, to investigate the sudden disappearance of a dangerous child-resident at the mental institution Ashecliffe, Rachel Solando.
The director of the institute, Dr Cawley, and the various nurses argue that the murderous mother has vanished from her room as without trace, but the agent Daniels seems to feed from the beginning of a strong suspicion on the way lead to the hospital by Dr. Cawley and his attending physician, Dr. Naehring. A hurricane forces the two agents to prolong their stay on the island, during which the investigations are continuing and details increasingly disturbing emerge, while Daniels continues to have visions that relate to his dead wife and his experiences in the war against the officers nazisti.Nell 'year of the celebrated restoration of The Red Shoes, two of the greatest filmmakers of the modern American, have paid personal tribute to the masterpiece by Michael Powell and Emeric Pressburger.
Francis Ford Coppola quotes copiously of the parties in Tetro, while Scorsese, as well as having personally taken care of in the restoration, its structure as Shutter Island that same endless spiral staircase that is covered by Vicky in the film. But if the reference point is the same, are completely opposite directions to guide their own operate. For Coppola, Red Shoes is a role model, an ideal Renaissance to contemporary cinema to propose now that the digital medium allows you to return to the kind of imaginative fantasy. On the contrary, that Scorsese is the endless spiral surrender of a type of cinema that is not reproducible in the era of simulation and repetition.
The spiral is thus the form he chooses to tell this gothic novel that builds up layer upon layer of suggestions, visions, memories, fears and paranoia, leading to a final solution that seeks to unravel the mystery and surprise the viewer with a twist is not too unpredictable. But manipulating the viewer has never been a favorite pastime of Scorsese, but rather the idea of \u200b\u200btelling the characters handled by the inability to accede to reality. With Shutter Island, the Italian-American director comes in a way to bring the final consecration of touch with reality and human folly as a unique form of survival. To emphasize the idea and resumed his character almost always transverse or oblique cuts, insisting on capture from the bottom upward to emphasize the distance. DiCaprio's character becomes just another man of violence of his filmography, the man who brutally fight to clear his memory and remain attached to their world.
But to eliminate the memories (Images, movies) inevitably means creating ghosts, manipulate a series of images foreknew of History (which is in the memories of concentration camps with the cart that follows almost choreographic execution of Nazi leaders at the camp Dachau) and, ultimately, to confess the impossibility of making peace with the truth. From this point of view, Shutter Island completes Scorsese seems to bring a speech that since his film has become broader, more academic: the inability to tell a world dominated not only violence, but also the concealment, to imagine something new when everything appears to be a repetition, a remake. At the bottom its spiral staircase made of mystery and suspense, Shutter Island seems to tell just that in the contemporary era, the sleep of reason does not generate more monsters, but ghosts, doubles, simulacra of something that has already been seen or experienced.
Mymovies.it
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