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GRINTA IL (USA, 2010) by Ethan and Joel Coen

Beware of misleading the Italian title. We are in Arkansas, circa 1870. America is still a country for old men, and fourteen year old Mattie Ross must use all his extraordinary frown to keep up with rude and ignorant men, without law, nor scruples. And 'her' true grit ' the original title, and certainly not to Roster Cogburn, ruthless bounty hunter and a drunkard who is 'hired' by the girl for you to capture and deliver justice to the murderess of her father. Even from here you understand that this western filmed by the Coen brothers is much less 'classic' of what he wants to look: they are in fact very rare cases of western movies in which the role of women is so important and marked, and not confined to those 'usual' to obbidiente wife or, worse still, a prostitute.

Mattie Ross is a young woman driven by the desire for justice, but in the wild west too often goes hand in hand with a vengeance: the 'small' intends to capture and process the outlaw Tom Chaney, forcing him to a sentence that is no different dall'impiccagione. But he soon realizes that will not be easy to enforce the law in a world dominated by arrogance, ignorance, arrogance and the sound of guns.

One wonders why the Coen have decided to make a western movie, a western 'true', made of landscapes scorched by the sun, dirty uniforms, gunfights and duels. In reality the answer is simple, if not obvious: the western and 'America, it is the essence, history and the heart of this relatively young and multiethnic nation. And no wonder, therefore, if the famous pair of directors, who in every film he showed us a different aspect of the land, decided to become the kind of 'American' par excellence, and reworking it to fit but to their way of making films.

Because there is no doubt that The Grit , despite appearances, is a film 'coena' to all intents and purposes as evidenced by the cynical and mocking irony of the end of the film, the characterization of extreme and caricaturist of the characters (especially that of Cogburn, a pre-Lebowski litteram grotesque and ridiculous, far from the 'original' played by 'mythical' John Wayne), and above all the 'usual' pessimistic vision of a cathartic companies that do not allows no room for reason and rules of coexistence. The evidence of the creeping racism of the film (see the scene dell'impaccagione of the three bands, where the Indian is not given the opportunity to speak) and the obvious comparison with our present time, because of intolerance and progressive loss of values and historical memory: when, forty years after the incident, the 'spinster' Mattie Ross will recover Cogburn find that on the trail of the survivors of the 'legendary' epic are now reduced to freaks who go around the country tell, as in a circus, enterprises of the past. And how, again, not recognizing the 'rude' alliance Cogburn and the ranger LeBoeuf, solidarity and respect (not necessarily the estimate) among individuals with completely different character and ideals, but ready to come meet in times of need, clearly exasperated criticism of the individualism of today's world.

In any event, without being obliged to take some respects, it must be said that The Grit is a wonderful genre, brilliantly played by (almost) all actors (Matt Damon on , grease, hair and we imbolsito many reservations ...), enhanced by a flawless package and class. Of course, those who love the Coen will find that their style is, paradoxically, the only weak point of the film: those who see The Grit will not find much except what you expect from a film like this. But it's only a venial sin for a great film, engaging, heartfelt and beautifully 'epic'. Avercene.

RATING: * * * *