It is up to film historians to specify at what point a film ceased to be an art greater or less, that is another question – to transmit complex emotions from a rational chain of planes and the equally rational movement of the actors within the plane .
John Ford, Fritz Lang and Alfred Hitchcock were the last masters to master this art whose difficulty, in the words of the first, was to maintain the same degree of emotion in a general plane and in the foreground. The current cinema has been precipitated by the chasms of chaotic planning and the accumulation of noise, be it visual or sound.
The most blockbuster premiere in history during the first weekend, is a laboratory test of this debasement. It’s not that any past cinema is better; is that the current is pleased to rush into the void, never better said.
Avengers it unfolds (it is a saying) a monotonous planning, dead from the first sequence, that insists on framing the actors, together or separately, between the shoulder and the head. Because what counts are the actors, not the characters, nor the plot development, nor the vocation to use space and time as transcendental pieces of the story.
Since there are no characters, but animated stickers, the congruent speech can only be a botched message typical of a self-help manual, such as “you can do it” or “let’s do it for those who are not here”. The final apotheosis is a bet raised by the accumulation sentimentality. All the stickers go in unison, as in the old patriotic calls, to destroy the villain and the spectator is claimed a sea of tears at the stroke of a badly shot death.
It is not that Avengers is an anomaly below the average commercial cinema; responds to the role ruled by industrial products that deny the respect due to space and time within the narrative. They forget the apothegm of Michelangelo Buonarroti: “Time does not respect what is done without counting on it”.
The industry is unable today to integrate action with reflection in its premium products and is generating a mutation not by monstrous less desired and in accordance with the market. A narrative devoid of meaning and, therefore, grotesque.