Free State, historical context films that have the objective of representing heroes / leaders and other figures of great importance within the event portrayed usually present difficulty as Free State to the tracing of their various historical lines behaved within the script. Some sacrifice the unfolding Free State of events during such events in support of the profound approach they define to their main characters; Others deplete the characters themselves (not their feats or impacts, but their narrative and dramatic weight), Free State creating joint force in their gallery of characters embedded in their respective events. And there are also films driven automatically, which do not add dramaticity and real relevance to either one or the other – and this is the case of the very weak One State of Freedom.

Set during the events of the United States Civil War (1861-1865), Free State, a new film from nothing more than mediocre Gary Ross (The Hunger Games), the film comprises events ranging from 1862 to the late 1950s. Being driven in large part by Matthew McConaughey (Interstellar) as the Newman machine builder “Newt” Knight during the war he becomes deserter by regressing to his land, to bury the nephew who had been killed in the conflict. His return is not pleasant: he is soon pursued for his defection by the Confederate army. The practices of this grouping also consisted of land confiscations and farmers’ groceries – which did not rarely become a real abuse. In this way, the imminent barrier between the troops and Newt is consummated, causing the separation of the protagonist of his family.
During the separation, Newton is directed to seek hiding place in a marsh, place in which it finds other deserters and slaves fleees. And it is there, at the beginning of his second act, that the film explores and “develops” (using the quotation marks explained below) his main plots and film proposal.
After a promising first act, which uses the heavy imagery load and the urgency of its occurrences to give intensity to the plot, the film degringola from the moment in which the attempt is made to establish its social commentaries, more specifically the racism in relation To black slaves. Coinciding with the principle of the creation of the Free State of Jones (naming the original title), the script of A State of Liberty, signed by the director himself, has specific appeals, intoned by Newt’s speeches in eventual conflicts between blacks and whites of the community . Despite the momentum given to the most interesting character in the entire film Moses Washington (the best performance of the film, played by Moonlight’s great Mahershala Ali), it ends up losing its effect and importance throughout the film: if it had played a fundamental role in In the course of the narrative can not even justify himself as a personage – or even to coin the declarations of his people, being necessary the presence and taking of attitude of Newt. The own development of the community is not considered as Important to the script; In a matter of minutes the hitherto small arrangement of rebels becomes a real threat to the Confederates. Serve-ups and surprise attacks on the southern army are some of the group’s practices, seeking their subsistence (since the small aid offered by the Union is not able to provide it). The relations between state – armies – inhabitants are non – existent, being personified in Newt and his actions (and do not assume this as merit of the character, but rather as a lazy artifice of his script).

Without having added anything to Newt, Free State McConaughey incorporates it with the basic features already characteristic and presented in great part of its Free State filmography; His loaded accent, his vacant gaze and a clear suppression of his feelings. When they take their Free State required flow, the dramatic impact is the same, even if the narrative progress takes direction from these.

The film also works on a plot that earns little grafts within Free State its main narrative: a descendant of Newt with Rachel (a figure he occupies, perhaps added up, a 5-minute screenplay, played by Gugu Mbatha-Raw), not having his degree of Specified kinship, is arrested and brought to trial for his “blood 1/8 black offspring,” by twentieth-century Mississippi miscegenation law. The inclusion of this (completely disposable) plot in the midst of its already problematic original plot makes the rhythm and tempo of A State of Liberty even more disconcerted without the existence of an organic cohesion between its parts. In an attempt to Free State raise his dramatic appeal, by totally questionable means, Free State what remains of this small plot are his sullenness and complete disharmony with the rest of the film.

Categories: 2016, Drama

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