In not too comfortable seats, although tolerable having such an important promise up front, it was that I had to see «The Spirit«, In a room similar to a funnel, where the screen was crossed in front of the spectators, leaving one without knowing if they had chosen the wrong seat, or if they were simply all the wrong ones.
The thing is, I saw "The Spirit", just released, and with few theaters that are showing it. Directed as we already know by Frank Miller, and based on the comics of Will Eisner, the film respects the tonalities of the comic, being that it is handled in a very effective black and white, which is interspersed with tonalities of a real world that only the comic could belong to. I was dazzled after seeing the effects that Miller's hand and eye can achieve through a camera. And it is that he has the gift of seeing, as well as of perceiving and generating what he wants to be seen, which ends up leaving the screen gleaming, with so many and so well used visual effects. There is a cleanliness inherent to the tone with which the plot is treated, since compared to his previous work, «Sin City », "The Spirit" is presented less serious, and perhaps more childish in some respects. For what art, both from the costumes, as from the scenography and the choice of lights and tones, is at the service of the characters and their way of facing events.
The Samuel Jackson that I think I see better than ever, the film boasts of having the most entertaining baddies that we have seen on the giant screen. Octopus and his assistant perfectly embodied in the beautiful Scarlett johansonThey range from ospicious seriousness to military service hilarity. Only in this way, and only in them could the "evil gene" be found, which could fit into the adaptation of the comic.
The protagonist is well in his role, since his humanity and his overflow are his own, as well as his downfall by women after women who do not let him rest.
I say again, I consider "The Spirit" to be a good film that, as far as its story is concerned, does not have the flight or, perhaps, the depth that "Sin City" could have. And this is only proper to the comic, and not to the adaptation, since it is perfect as far as the possible possibilities, redundancy is worth, it could be worked on. Miller has satisfied me again.
