It’s 1830 On the snowy New York campus of the U.S. Military Academy, a young cadet is found hanged. The coroner and others will eventually discover that the deceased’s heart has been stolen from his chest and that part of an as-yet-undeciphered note has been hidden and held by the deceased. Don’t worry: Christian Bale is on the case. light blue eyes Bale plays Detective Augustus Lando, the kind of man whose reputation (dead wife, missing daughter, alcoholism and great detective skills) precedes him like a stench. That means he’s perfect for the job: he has nobody and nothing to lose. He had seen enough deaths that it was speculated that the horrors of such an endeavor, in which the death toll would surely increase, might not affect him.
that curve ball light blue eyes The way Landor will be thrown isn’t due to its central mystery, even as the affair develops to involve satanic rituals, dead animals, and emotionally unstable rich men. That thing was surprisingly uninteresting.Even better was finding Lando’s cadet in a bar late one night, pulling him aside, and saying, “You’re looking for”—dramatic pause—”a poet’ How does this guy know? He’s also a poet. He’s obviously Edgar Allan Poe.
The name meant nothing to Landor. But of course it means something to us. light blue eyesWritten and directed by Scott Cooper, based on the 2003 Louis Bayard novel of the same name, it’s ostensibly just a film about suspense. Really, it’s a film that focuses on the poet’s slender strangeness, who at first is recruited into Lando’s company simply for his gothic instincts. Well, maybe for the fun of his hifalutin drag, the generic old Southern essence of his company, exotic in the Hudson Valley, thus making him a target among his peers. Poe is played by the eccentric adventurer Harry Melling, a painful romantic with a distinctive visage, a lot of talk, an excitement for poetry, and a surprising love of diving into the wreckage of the story’s mysteries.
The film has a wide-ranging cast, from Timothy Spall and Gillian Anderson to Charlotte Gainsbourg, Toby Jones and Simon McBurney. But it’s Merlin who stands out, as he should. If he wasn’t Edgar Allan Poe, he’d look like a plant: an eccentric character who arouses our suspicion, while a more obvious con man lurks somewhere in the shadows, manipulating.but because He’s Edgar Allan Poe, and we know better: the man hasn’t written (and recited to the woman he loves) “The Raven”—this movie gives him the chance to do it.he is a Romantic, not the murderer. So it’s up to the rest of this dreary scene to get our minds going, a job they can barely do, in a movie that doesn’t always seem to have confidence in how and if it’s designed to please us . light blue eyes Being heavy doesn’t always work in its favor. Its somberness, meant to be a good look at American Gothic, gets in the way of its funnier, weirder parts. The offense is that it does so to solve an inconsequential mystery. Even the characters end up feeling like they’re just moving on.
Bell and Cooper worked well together.actor who starred in cooper’s released (2013) and enemy (2017). The category is: “Slow-tempo masculinity”. Cooper worked as an actor for a few years before turning to screen directing, and—unsurprisingly—he got on well with actors.his directorial debut was crazy heartJeff Bridges won a late-career Oscar for his recent work such as enemy, showcasing the virtuosity of actors like Rosamund Pike and Weststadi.His films are more coherent in the musculature of the actors than in the context and the stories he tells, and light blue eyes no difference. The direction is firm and straight for the most part, but in a sense the actors have good leeway to be weird.The film is full of curiosities, almost none of which have anything to do with the heartbreaking, satanic mysteries at the center of the story, and almost all of them thanks to the cast: the eccentric audacity from Merlin (who even inspired Bale’s Landor to step back Step applause), Timothy Spall’s gruff insistence and Gillian Anderson’s heightened grotesqueness, she brings to the role the same quivering sense of superiority that she does to Thatcher, because crown – just make it 19th century and somehow worse.
As a barmaid who is also Lando’s lover and confidant, Charlotte Gainsbourg’s Patsy is probably the most normal guy here. Not surprisingly, she’s one of the underutilized members of the cast. It’s almost too bad–she’s so funny, you almost want her to somehow insert herself into the story, betray someone, and liven things up. light blue eyes, with its grim snowy landscapes and gloomy interiors, feels like a search for a better story. For a film so full of secrets, much of it is lifeless, as if it’s no use getting too excited about a truth that will eventually inevitably surface on its own. Bale is the brooding soul at the center, while the wider cast of West Point cadets — some of whom are clearly ill-intentioned — contrast sharply at the fringes. It’s a troupe in the service of a story that’s only marginally satisfying when it finally decides to pick up the pieces. As it turns out, the real fun always means the weirdos we meet along the way.
This makes Bell a necessary counterpoint. He has pain, but not extremes, at least not in this role. His wayward detective isn’t committed enough to let the job pull him out of his slump and give him a chance at redemption. This movie is not about that. He’s not a savior detective, or someone who really needs to be saved, not quite. Bell is somehow too smooth to fit firmly into the archetype. He approached the character the same way Lando approached the crime in the first place: like a serving man, maybe nothing more. As a true movie star, the kind of actor who is worth seeing even if the movie isn’t, Bale can do that and get away with it.what saved light blue eyes From itself is as much as it knows.