Filmmaker Edgar Wright has established himself in the Hollywood market with solid works and a striking style. Films such as Lead Thick (2007) and Scott Pilgrim (2010), have brought the director’s brand that mixes an unconconservative look, full of ironic and polite humor and a technical care with well thought out and executed sound montages and design. In fugue rhythm, his newest feature, perhaps a ripening of Wright’s language put on the canvases.

Montage, always a very well-placed item in Wright’s films, has little of the choppy pace of his other films. The plundering of the director and his editor is precisely in the fact that the chase scenes already have enough adrenaline and dynamism. What enriches the assembly of the film is like the same house with sound design, with the movements of the actors and with the soundtrack. They are gestures that connect by motion raccords, following a flow with the beat of the music, giving organicity and verisimilitude for taking action.

Baby Driver (Ansel Elgort, Guilt of the Stars) is highlighted because the viewer always listens the same as the protagonist. If he is listening to music the audience too, otherwise, when Baby takes off the headphones, you hear the buzz that the character has in the ear. Baby suffered a car accident with parents when small and the buzzing was the consequence. This connection between what the audience listens to and what they hear can aid in creating empathy, bringing the audience closer to the plot.

The film shows an awareness of the aesthetic and narrative choices, bringing a practically choreographed mise en scène. The first plane sequence, shows the daily life of the protagonist, and the city behind him is alive and also follows in the dynamic rhythm that the character has within him. At times, Baby exaggerates a bit and enters an almost musical energy, as if singing and dancing with all the extras, breaking the atmosphere of the film, but does not compromise abruptly. Yet it is unreal, artificial.

The characters are well built, with well-defined personalities. The three-dimensionality is not only a privilege of the protagonist, all the components of the gang, who have different thoughts from each other, without cluttering in clichés of bandits, Deborah (the girl of the film), who shows a strength and fragility in their daily life Without grace working in a café, the adoptive father of Baby, a dumb lord, but that demonstrates all the character of the education that gave to the son. All have traits and life histories drawn, even if only briefly. Without much explanatory dialogues, the long one bets on not giving the information of each of them of time, telling little by little more by images than by speaking.

Only Doc, the leader of the robberies, has a plot twist that is not well built. The boss of all schemes, is ruthless with Baby when he wants to leave the branch of robbery, threatens all, has kill without a second thought, but in the end, pities the protagonist only because Baby is with Debora in time In which he asks for help for Doc. The only speech that the film brings to make plausible this turnaround is: “I already loved one day”. One can understand the reason for the help, but for a cruel man involved in a crime, this explanation may be very shallow.
Despite the sometimes over-pitch tone, shattering filmic organicity, In Escape Rhythm is a competent work that brings a renewal to the genre of action, blending Wright’s frenetic language with well-used narrative elements, a script with no leftovers, with Credible dialogues. There is a dynamic and visually appealing vision, by its camera movements, colors and montage attached to the sound, but no regret in the hand trying to be more than it is. In fugue rhythm is another step towards the maturation of Wright’s filmography and, in fact, a movie that amuses.

Baby Driver, Baby Driver, Baby Driver, Baby Driver, Baby Driver, Baby Driver, Baby Driver 2017

Categories: 2017

Leave a Reply