The Rum Diary
Great minds meet in “The Rum Diary,” a relevant exploration of the American dream at a time when ideals were to take the edge. A momentary pleasure, but singular, who looks with a constant good humor.
In 1960, journalist (Johnny Depp) who likes to abuse the bottle landed in Puerto Rico to work in a journal of second order. He made the meeting of colorful accomplices, and the charismatic Sanderson (Aaron Eckhart) who submits a mysterious proposal.
Creator of gonzo journalism, the late Hunter S. Thompson is the father of iconoclastic writing where alcohol and drugs is good household. His style, unique, and flamboyant seems particularly difficult to transpose to the cinema. Terry Gilliam has learned the hard way with its uneven “Fear and Loathing in Las Vegas” and it was the turn of returning Bruce Robinson (yes, the one to whom we owe “Withnail & I” and “How to Get Ahead in Advertising “) of them rub.
The result is not of much memorable. Rate sometimes lack of nerve, the story drags in length, and the characters are not always explored in depth and soul of Thompson is sometimes lacking. The irreducible prefer read the book and they are right.
Others will find themselves with a feature intriguing desire of strong dialogues which melt in the mouth. The themes are many and they explore aptly the disillusionment of the American dream where paradise is that mirage. There is no possible escape and individuals looking to move up the social pyramid are likely to drink the cup. Like those who there are already. A critique of society which is accompanied by economic factors (the cleavage of the population at Puerto Rico), political (this good old hunting to communism) and journalism (the power is particularly tossed).
Voluntarily vapour stage is consistent with the words, including anesthesia of the body by alcohol takes time before making its effect, until the alarm is brutal. This gives the passage a few scenes of hallucinations and the roosters fighting who are not stung worms. Constantly offbeat tone offers salvation humor, which fits rather well with the nature of the interpretation. Johnny Depp has this role by heart to have embodied a still more twisted derivative in “Fear and Loathing in Las Vegas” and it is here at the top of his art. He is particularly well surrounded by a solid distribution that includes the always solid Aaron Eckhart, truculent Richard Jenkins, Giovanni Ribisi the hilarious, the seductive Amber Heard and tongue-in-cheek Michael Rispoli.
Sometimes turning corners, sanitizing its office to reach a wider audience, “The Rum Diary” is a commendable effort, but imperfect, which attempts to recreate the madness own Thompson. Not to mention the success or failure, the result is more honest, which is already a lot for a project as jawbreakers.
