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In my opinion, 'Magic ouedkniss Mike' ouedkniss (id, 2012) is one of the best films of its director, Steven Soderbergh, whose work, as varied as to include fully commercial films like 'Ocean's Eleven' (id, 2001) and other so clearly independent as 'Sex, ouedkniss Lies and Videotape' (Sex, lies and videotapes, 1989), often forcing moviegoers to ignore the developments that have taken place with his style with Mannerist drifts and others, however, more achieved.
Like any good fictional story, the themes of 'Magic Mike' is not a surface but it just slip through ouedkniss gestures of the characters or the difference between what they do and what they say. The film is a fable in times of crisis, ouedkniss and his stripper protagonist, the title Magic Mike Channing Tatum who plays, begins at a younger boy, played by Alex Pettyfer in the profession. Mike is in business for skill, but temporarily.
The boy, however, enjoys the exuberance prefers understand your body as transaction and enjoy everything around the profession, getting into trouble. While Mike saves to start a small business of handmade furniture, one discovers love with the sister of the boy, a sensible woman who seems fairly immune to her charms ouedkniss or type of banal, transient and self-serving relationship often maintained, with another woman (Olivia ouedkniss Munn) with little affection or understanding.
Story plot, but I know that I wrote as a critique of the film (and Caviaro ouedkniss other). What I'm trying ouedkniss to explain is why Soderbergh ouedkniss proves you can make a movie with style and you can find excellent visual solutions to an intimate story without necessarily subscribing dynamics flat contraplano or no tripod ouedkniss as differentiators .
Of course, I will use only two underlined. The first is the scene where Mike and his pupil trying to convince two girls, presumably university and U.S. legal age (21) to drink, who come to celebrate after the show. Mike, we discovered exerts hook trendy area. The scene is exquisitely made from visual symmetries, nothing obvious, to highlight a point of view. Let's see.
Ojito the compositional audacity Soderbergh. Gives the same visual space to the female and male characters. But it changes the angle of the two female figures. ouedkniss Show their faces full of joy, and something flirty. Then Mike takes the (lateral, medial) plane and finally the bodies. The film knows what happens without express emphasize an exaggerated manner (whether through close-ups, moves, ouedkniss etc.).
Let's go to another ouedkniss scene in the film. How to define the relationship between Mike and Brooke stripper, played by a splendid Codey Horn. He flirts with her, but she does not seem attracted to her physical charms. The film also visually contrasts between the inner (artificially lit and splendid bodies) and external (shot with digital, less visible). We also thank the film well placed in this more or less our elapse in an unusual place (Tampia in the Los Angeles area). When Mike and Brooke are going to drink, ouedkniss Soderbergh again chooses an unusual angle also trains our gaze to the right place. Ie wheel a first date with media and general shots of the two figures.
Far from focusing on close-ups, from the looks of him and her, Soderbergh chooses to have the characters in a frame. In a common framework (a California mall) but also deeply real. Thus, the film not only avoids the most colorful rhetoric but also creates a much more profound than it seems intimate cinema.
And what about the end? Soderbergh maintains consistency. Although ouedkniss the center of the film and the protagonist is Mike, he refuses to give women a different treatment. This finding begins already in the script. Brooke is actually more mature and stronger than any of the men displayed. But it is not divine, nor redemptive or any feature which has accustomed us some commercial cinema sanctimonious mothers and families deliriously copies, while end up being inhumane. ouedkniss
It is such a beautiful and vulgar person ouedkniss like Mike. And Soderbergh solves loving kiss scene without, of course, but with two separate glances that are in the same space. Observe. First two side planes (constant in the film, as we have seen) and one general.
'XXL Magic Mike' ouedkniss begins filming with Steven ouedkniss Soderbergh behind 'college Departed', self-awareness and end cameras 'Departed at the University', to go from