No one would have bet on an action blockbuster starring the king of stoner comedy and directed by the king of artistry at the moment, the director of ‘Forget about me’ or ‘The science of sleep’, Michel Gondry. Based on the radio serial from the 1930s, with a ridiculous and hilarious villain played by Christoph Waltz, the longed-for Cameron Diaz and the presence of Jay Chou, ‘The Green Hornet‘ it was the perfect blockbuster and nobody noticed.
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In a perfect world, considering that the film was released just over ten years ago, we would now be with a more or less recent third installment of the character, but the world is not the way we would like it to be. The investment of 120 million dollars by Neal H. Moritz, producer of such masterpieces as the two films based on Jump Street by Phil Lord and Christopher Miller o’Three idiots and a witch‘, the most perfect amazing comedy of the year 2000, not that it was a fiasco either.
‘The green Hornet‘ nearly doubled its budget with a gross of close to $230 million worldwide, but the expectations were much higher, the critical response less than loving, and, well, the industry. But none of that matters because we can enjoy when we feel like it. one of the best measured scripts by Seth Rogen and Evan Goldberg for an event that actually resembles one of its foolish protagonist’s parties.
Gondry’s film is funny, fast-paced and really beautiful, but the poison of this stinger is its unique style of comedy rising with relief in the form of elegant explosions. Yes, it is such a crazy movie that the reliefs are not comic, they are action. The world upside down. Mission accomplished.
Filled with visual discoveries, impossible stunts and the Gondry of the video clip seeking his place on top of the world, ‘The Green Hornet’ was an action blockbuster exemplary like no other. An
dog green hornet who did everything on his part to please an audience that eleven years ago was already in need of something more adult escape cinema than usual.
The truth is that its box office is much more worthy than one might think at a time when comic book productions and adaptations they were going to devour the machinery. Seth Rogen and Michel Gondry opted for a less emblematic character, but also much freer, to whom they could breathe his style with little risk of provoking the anger of some past fan. Although surely they found more than one.
The arrogant, irresponsible and selfish son of a newspaper magnate, Britt leads a life of debauchery until his father dies suddenly. He soon meets his father’s driver, Kato (Jay Chou), an enigmatic young man, mechanical genius, and spectacular barista. Together, united by ennui and boredom, Britt and Kato will become, almost despite themselves, the masked saviors of the slums of the Angels. Something that of course will get on the nerves of the ridiculous Chudnofsky, villain of the show.
The key to Gondry’s film’s effectiveness lies in its dialogue, repartee, and Rogen’s and Goldberg’s total freedom with the source material. The result is a hilarious comedy, with spectacular doses of action and adventure that remember the blockbusters of the 80’s with class and brilliance.
Nobody here is interested in finding a new Batman or a future wall-crawler. Roger’s Britt Reid/Green Hornet he is an idiot, coward, misogynist and always hilarious. Maybe that was actually her slab: while everyone was looking tortured heroes, great powers and responsibilities, these guys came to make a racket from the first sequence. In it a hilarious James Franco tries to mark territory with some hilarious lines to open the game.
Gondry’s imprint is constantly visible, especially in the incredible and never surpassed multiple sequence shot, a scene that surely made Brian De Palma very happy. But there is also a lot of the most romantic Gondry, which makes ‘The Green Hornet’ an absurd entertainment, necessary and, what a bitch, unrepeatable.
Now that Sony/Columbia handles the craziest blockbusters imaginable (‘Venom’), the gooiest fandom (‘Spider-Man: No Way Home’) and the craziest comebacks (‘Ghostbusters: Beyond’) I guess we have no right to complain when we let gems slip by like this night hornet. What a shame, huh.