If all had gone in conformity, The Interview would have premiered in the US on Christmas Day, would come to Portugal in late January with the title An Interview Crazy .
The mere fact that The Interview use as “villain” Kim Jong-un, the totalitarian leader of North Korea, already came to pay him more attention than usual. But nothing would predict that The Interview was erected the primary reason of an embarrassing pirateamento information systems from Sony Pictures, a diplomatic incident with the real North Korea and terrorist threats to American movie theaters (resulting in a “liberation” online already released the film worldwide). And precisely because it has become the “fulcrum” of a question of freedom of expression, it is impossible for The Interview will ever be able to be at the level of expectations.
At a time when the American comedy through to many observers (and especially those who still yearn for the impossible return of the era of gender gold) a small “desert” creative, Seth Rogen and Evan Goldberg, Canadian double sponsored by Judd Apatow, have systematically tried to force their limits. His previous film, This is the end! has even become an example of what can be a comedy while in and out of contemporary pop-cultural codes, reinventing them while deconstructs.
The Interview follows this same logic: Talking to play very serious things, giving a television presenter of trash TV (James Franco) the chance to interview the most dangerous dictator in the world. The Interview satirizes, above all, a society where Media and the very concept of journalism are constantly being manipulated. And do get your sincere message and idealistic something that we need to be aware of what happens around us through a series of basic and brejeiras jokes about sex, drugs and pop music.
So far so well, but The Interview has much less grace than the things that Rogen and Goldberg did before (with his script for Superbaldas to the head). Reasonably in point as satire of modern pop culture (Katy Perry and his Firework as “Esperanto” universal emotional), with some inspired moments as spy comedy (remember the old Get Smart Mel Brooks), The Interview sinks without ifs or buts when it wants to be serious.
And, worse, it crosses the line of bad taste when he plays with violence: it seems that Rogen and Goldberg want to emulate the Tarantino Inglourious Basterds or Django Freed in your sanguinolentamente fireworks end, but fail completely wild ironic tone. Like their heroes find themselves put in a plot that transcends also Rogen and Goldberg were left entangled in something that goes beyond that ends up playing against your movie.
It is worth quoting the Chaplin did with Hitler in the Great Dictator , there is no comparison. The Interview is a failed comedy, even more interesting than most of the current production plan. And has the merit of being a breath of fresh air in a Hollywood resigned conformism that survives the account franchises sterile. But this same merit makes it also moving target – to beat or to protect
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