A delivery or forceps delivery for a replay of bitter and personal. After two years of post-production to fine-tune the special effects and to avoid colliding with the project by shooting the actual Disney piloted by Jon Favreau, Andy Serkis unveils the jungle Book . For the occasion, the star of the Lord of the rings and the new trilogy, Planet of The apes is in front of and behind the camera. His Mowgli, the legend of the jungle is now available on Netflix. The platform SVOD organizes, in addition, a broadcast in 3D in some cinemas, americans and londoners. Warner has preferred to secure his rear, and assign its distribution rights, fearing a box-office disappointment. The version of the interpreter of the hobbit Gollum surprised by its darkness. A thousand miles from the recklessness of Disney animated and his merry old song It takes little to be happy.

“I wanted to go back to the original stories of Kipling. The novelist was born in India but has done his schooling in a boarding school English, where he was very unhappy. When he describes the jungle of his childhood, it is with nostalgia and sadness,” explains the Figaro Andy Serkis.

“Mowgli is an outsider and never in its place”

With this film, the English actor wanted to “put Mowgli in the center of the story”. Moreover, the wild child meets most of its congeners, as in the preceding adaptations. And Andy Serkis to decrypt: “Mowgli is an outsider and never in its place, nor among the animals that have adopted, or with the humans of the village that borders the jungle.”

Played by the young Rohan Chand, the child is educated with a condition of the rough by the black panther Bagheera and the bear Baloo. The plantigrade is not a good living, but a sergeant near a military which teaches us the harsh laws of the jungle: never hunt for pleasure, not to attack the cattle men, etc To continue to be under the protection of the wolves who had gathered, Mowgli must win a race of speed and outwit the clutches of the vengeful tiger Sher Khan. The fawn dream to establish his dominance and bloody. These relations suggest, in watermark, the fragility of nature in the face to men, but also colonialism and british imperialism, in the person of the white hunter John Lock-wood (Matthew Rhys). This collector of trophies has an account to settle with Sher Khan.

The sub-text is not easy to grasp for young people who may be baffled by the underlying violence of some scenes and the end rushed. But their parents will want to immerse yourself in the texts of Kipling to find the bitterness. Expert capture movement, Andy Serkis has brought his knowledge of the technique in practice. His animals are doubled by the who’s who of Hollywood: Christian Bale (Bagheera), Benedict Cumberbatch (Sher Khan). The director has kept the role of Baloo.

“I was inspired by the engravings of the zoologists of the Nineteenth century to give to his animals look realistic but also legendary. We have also given the traits of their interpreters”, he explains. The faces of the actors and animals have been melted. Kaa the snake had taken, and the cheekbones of Cate Blanchett. “Motion capture is a tool prodigious, concludes Andy Serkis. This means that in the Twenty-first century, an actor can embody any character, without limit and appearance of nature.”

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