Questa sera sulla Croisette comincerà il 63° Festival di Cannes, con la proiezione in anteprima di Robin Hood, il nuovo costosissimo kolossal firmato Ridley Scott.
Bloccato dai postumi di un’operazione al menisco, Scott non sarà all’apertura, ma ci saranno i due protagonisti, Russel Crowe e Cate Blanchett.
Le prime recensioni non sono particolarmente entusiate, pur apprezzando il cambio di prospettive operato da Scott, che ha cancellato tutta la precedente tradizione giocosa dei film sull’arciere di Sherwood, per un film teso, d’azione, realistico.
Secondo Justin Chang di Variety:
Ridley Scott’s grimly revisionist take on England’s most famous outlaw. Impressively made and serious-minded to a fault, this physically imposing picture brings abundant political-historical dimensions to its epic canvas, yet often seems devoted to stifling whatever pleasure audiences may have derived from the popular legend.
What Scott and scribe Brian Helgeland have attempted here is not too dissimilar from what Christopher Nolan and his collaborators pulled off with “Batman Begins”: They’ve fashioned a fresh origin story for a well-known hero and excised all the material’s potentially campy aspects in favor of a downbeat, detail-oriented realist approach.
Chang richiama anche la precedente fortunatissima collaborazione tra Scott e Crowe:
Robin’s stirring speech on the brotherhood of man (it’s a quasi-Ken Loach moment, laying the foundation for the Magna Carta) recalls Scott and Crowe’s superior first collaboration, “Gladiator” (2000). Now 10 years older (and paunchier), Crowe still has the sullen brooding and iron-clad sense of righteousness down pat. But there’s no twinkle of merriment in his eyes, nothing to suggest a man who would not only be outraged by poverty and injustice, but wily enough to make sport of those responsible.
Da sabato anche Stanze di Cinema sarà a Cannes per il nostro consueto diario festivaliero.
Stanze di Cinema 
