It was presented at the Venice Film Festival and is already the autumn film the event. It’s called Suburbicon and is the new film written by brothers Joel and Ethan Coen with Grant Heslov and George Clooney who has also directed.
It was from “Hail, Caesar!” that the Coen were missing from the big screen and returned to great with a very important cast of actors such as Oscar Isaac, Matt Damon, Josh Brolin, Woody Harrelson, Julianne Moore and Glenn Fleshler.
The story is that of Gardner Lodge, a white collar living in the laughing Suburbicon with Rose, his wife paralyzed by an accident, Nicky’s son and Rose’s sister, Margaret, ubiquitous. To crush the tranquility of Suburbicon is the arrival of a black couple, the Meyers who, with a Nicky’s baby boy, moves to the chalet next to the Gardner. At this point, the well thought community of Suburbicon flames and tries to push back “Negroes” by all means. Meanwhile, two delinquents burst into the lodgings at night and stunned them with chloroform, killing Rose. Creating a Mother Scene, which resumes a script by the Coen brothers, written several years ago, telling the true story of the wave of violence that triggered the installation of color families in the residential centers of the middle of the 1960s white class and xenophobia.
The scene’s lens is focused on Nicky’s terrified look that helplessly assists his mother’s murder. Although it is a very light dark comedy in the Clooney / Coen style, the baby look, along with all the other such moments that dotted the film from there, like Nicky’s looks from the balcony, from under the bed , from inside the closet, give the film a moral play weight. It is just by watching and observing that the child learns, from all this hatred, and how much tolerance and acceptance are more urgent. Despite the ugliness of the actions of the crowd and his own family, little Nicky learns the most important lesson from the black peer: resilience, that ability to absorb a shock without breaking. A lesson learned from a child who had almost been forced to attend.
The morality of the story is very timely and seems to want to give a political message to the United States obsessed with the fear of an outward, black or Islamic enemy. Clooney’s story tells an American unable to see that the most brave, the most chilling threat is in their homes, nourished by greed and envy.But this is a blindness that is far from being unintentional, because real blades are erected to deny the Meyers vision, which also appropriately conceals the view on the other side of the wooden wall.
It is obvious, in short, that this black comedy seeks heavily on the social and political reality of Trump America, even though it was set in 1959.
Someone speaks of a political turnaround of George Clooney, also supported by his family almost Kennedyenne. The fact is that the film is to be seen, was nothing but the interpretations of Matt Damon and Julianne Moore that did not disappoint their expectations.