There is a tremendous risk of reshaping a movie like “High and Low”. Japanese Mr. Akira Korosawa prepared the bar high by kidnapping in 1963 who brings an ambitious businessman on his knees-what it means, even in the hands of the visual director like Spike Lee, you cannot help worry about the low modern update in New York.
For three quarters of its operation time, “the highest 2 lower” in Lee is much better than the skeptics expected (it’s day and night with its harsh American adaptation to “Boy Old Boy”). Then comes a scene that is not an equation in the Corosawa-confrontation version between Denzel Washington and $ AP Rocky as a man with the nerve to his son Ransom-polishing the movie to a new Samosphere, and offers another procedure at the same time original and profound person.
In the end, he took me “high and low” to higher levels, as he presented a movie looking for a spirit that also enjoyed during the appearance of the alarm around where the culture could go. Ultimately, the project that deserves the big screen must eventually lead to the Apple TV+on the big screen when A24 is released in theaters on August 22, three months after leaving the competition at the Cannes Festival.
When the film opens, “Oh, it’s from the beautiful morning” on the beauty footage of the big apple (dealing with “Oklahoma!” From the balcony of his shed apartment-in the amazing Olympia Dumbo building in Brooklyn, no less than Washington’s character is preparing to get the majority share in Stackin ‘Hits, a registration mark that he participated in establishing more than two decades ago.
David has two things to show all his years in the field of music. There are Stackin strikes, of course, but most importantly is his family: the wife Pam (Elvinch Hadira) and his teenage son, see (Auberi Joseph), who may only bear a new talent ear the mark through the turbulent challenges facing the industry. At this moment, just as David was pure in his wallet and took the second real estate loans in his home – all of this with the intention of controlling the company that helped in its establishment – receives a call from a person claiming to kidnap Tri.
This direct threat to the King’s family puts his plans to stop, but it is just the first many transformations (unchanged from the original) that forces David to decide whether to pay the ransom: 17.5 million Swiss francs. In new wrinkles, the public perception (as in, how the situation on social media) plays an important role in his decision. No one wants to be seen as the man who bought a company with the same luck that could have saved an innocent teenager.
The three investigators insist on the New York Winters, Lachanze and John Douglas Thompson that they will be able to recover money, but kidnapping is more intelligent than they believe, they insist that David attend the looting via the metro, and then makes it disappear amid the Purto Rican Day Parade offer in southern Bronx. Life -filled by pianist Eddie Palmiri was pumped into a street, a wonderful sequence that is classified immediately among the best New York City business groups in all ages, there with a chase scene in “The France Connection” and Five Points a battle in “Gangs of New York”.
He created me much more than just a presentation in the period before this moment, but from here on, the film had done us by white collars, which pushed a dramatic force to remember what the talented director could be when everything is released in the same direction. As in the Corosawa version (which was loosely adapted from the novel “King’s Ransom”, written by ED McBain), a serious miscalculation by the kidnapper withdraws the oldest and closest friend of David, Paul (Jeffrey Wright), to the mix. Screenwriter Alan Fox strengthens the link between these two men while also explaining how police officers treat them differently.
David is one of the most successful black entrepreneurs in the city, and in this way, he has given special respect and cooperation. Paul, on the other hand, has a criminal record and is seen as suspected at first. Later, when the tables turn, the police look less willing to help him more than they did. But Paul is not without his own support network, as he offered calls to the “streets” that result in basic evidence in the investigation.
You can barely ask for better actors from Washington and see in these roles, with the reunification between Washington and Lee (their fifth cooperation), allowing them to build on their technician heritage for decades. Here, we find the “Malcolm X” star who plays the role of a man named King, while Doctorey’s pictures of Denzel hangs all over the man’s office. Meanwhile, King’s Home is a black excellence temple, such as Pedro Modofar (its colored walls decorated with paintings and antiques from the Li Personal Collection), in a way that collapses the distance between the director and the fictional hero.
In theory, pushing the ransom comes at a direct account of David’s major music plans, and in this way, he forces him to put all his priorities in his correct perspective. For the peak of the all-new version, he looks at every tie (while he was ranging himself “The Chance-Giver”), Washington throws spontaneous rap music battle with $ AP rock at a moment showing the cause of this man. While David regains what he loves, we can hear emotions for me: as a film teacher, the fact of the facts and the oldest state of society. They are in the last half-in the exciting musical performance that gives the film its name and in Koda reveals the artistic conscience of Lee, answers a reason that dared touching a sacred being like a Corusawa masterpiece.
For beginners, New York is another planet, compared to the 1960s, and this project allows me to celebrate what the city means to it today. David says, “You are either building or destroying in this world.” This may be wrong, and a “high and low” reshaping has reduced the original, but in this case, it is clear that I have a vital thing to add it.