The finest review of Hereafter has given its Cecile De France, the beautiful star of the film:
' Clint is a man incredibly free, and is such a master who can now also deal with huge issues, like life after death, while maintaining its simplicity and its ability to speak with the public '.
Stop. Not much to add to these words, they say really everything. Or at least enough to make us love a movie like this exceedingly imperfect. And never mind if the script is lame in several parts, if the pace is perhaps a bit 'too slow, especially in the central part, if the use of special effects (quite unusual for Eastwood) is not always' under control'. .. are defects that are really venal when compared to the great emotional range of a film that touches on a subject very difficult, thorny, a real 'trap' for anyone delving. Eastwood does his part, and won the bet in the usual way of always turning with the utmost rigor and simplicity, coming straight to the heart of the viewer without pain and without speculating on emotional blackmail.
There is a scene of Hereafter example that demonstrates what we just said we are near the end of the film when the boy protagonist of one of the three stories finally able to convince George sensitive (a good Matt Damon ) to put him in touch with the brother died in a car accident. The medium realizes the state of despair and frustration faced by the small and begins to lie about what you 'feel', making him believe that his brother is close to him and spurs him to go forward without fear. I challenge anyone of you have no compassion in this sequence, so touching as the primary staging, which once again demonstrates the incredible Clint Eastwood dell'ottantenne ability to be able to warm hearts in a modocosìsemplice and so direct as to be disarming and almost 'miraculous' ... Hereafter literally means 'beyond', but it soon becomes clear that the secular Eastwood particularly interested in the 'aldiquà ', namely how to develop and come to terms with death by those remained alive. It does so by building an ensemble film, consisting of three episodes in which they tell three different ways to mourn: the first a beautiful young French journalist escapes miraculously a 'tsunami', which swallows its devastating force, and for some moment the plunges in the limbo of death before being saved by the hair. In second (shot in London) a dissolute mother drugged and unable to take care of twin sons, one of which is hit by a car after a trivial quarrel between peers. In the third a young worker in San Francisco discover that they have the option of contacting the dead people, but this 'gift' soon to ruin life sentenced to not being able to live a 'normal'.
Eastwood, in the name of his consistency and his intellectual honesty, it shows nothing of what is (or may be) after the death, unable to obviously be aware of. But equally not refuse and do not deride those who believe in the assumption that none of us is able to judge what each of them 'feel' in relation to this, in any case not proven.
A great lesson (yet another) film and life.
RATING: * * * *
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