‘Presumption of innocence’: guilty or innocent? Frankly I don’t care | Culture

It should be mentioned mentally with the movies and series you select to see at your home before finding the blessed refuge of sleep. It is not pleasant to go to bed with a boredom or unbearable boredom gesture contemplating new things, trying to discover an oasis in the middle of the desert. It is understandable if you do it by professional obligation, but the cinema you can program at home, obeying your exclusive pleasure, even if you know it by memory, you must exclude disappointment and support. It is playing on insurance, Arcadia is every night, as Cabrera Infante titled a memorable book about the cinema he loved.

In recent times I have seen such exciting things again and without aging date, such as chemistry, intelligence, style, mocking, mutual and incessant flirting that the films that interpreted together Bogart and Bacall give together. Also the enduring aroma and the grace of the longed for and great comedies of classic cinema in the United States.

And, of course, several samples of judgments cinema. I mean, the complex and honest Twelve men merciless; or witness of charge, That is not the best Wilder but in which the immense interpretation of Charles Laughton accompanied by his monocle arter is unforgettable; Final verdict, With a Paul Newman in a state of grace playing an alcoholic lawyer, a long time sunk in the personal and professional failure that ends up improbbly winning a case in the face of the most powerful but in which he was used by the woman who supposed his last table of salvation; And the unsurpassed masterpiece that has given birth to this genre, that is Anatomy of a murderin which the culprit is free and long without paying his lawyer, with a James Stewart anthological and the fantastic Lee Remick teaching sensuality provocative.

I can’t stop thinking about those glorious background when I barely support the inane Presumption of innocence. Judgments in which throughout the footage is absolutely indifferent if the alleged murderer of his drunk wife is guilty or innocent. No tension on my part, no anguish, no interest because they discover the truth, although the outcome pretends to be as cloudy as it is dark. Visually it is very ugly, the script and the dialogues intend to imitate in vain the characteristics of the genre, the interpreters are bland, both the protagonists and the secondary ones. It is not long, but I find it endless. By gray, by mediocre, for useless.

They informed me that it was projected at the last Cannes Festival. For my cinematographic criteria, and after having spent half a life in the film competitions, that does not mean any guarantee. Yes I understand that some expectation existed in the French market because he writes it, directs and stars in Daniel Auteuil, a lord who has been enjoying the respect, love and admiration of the French public for a long time. During the eighties and ninety of the last century, this man frequently led the distributions of “important” films in that country. And I use the quotes.

It always seemed like a very correct actor and with a sobriety point. I include his character in the as sad as admirable A heart in winter, One of my favorite French cinema films. In recent times it seemed missing. Apparently, Presumption of innocence It is the fifth movie directed by this man. I hope the previous ones were better than this.