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“On the last breath“: where you run, Mr. Gere?

often began to come across Recently to me the Hollywood remakes of the European pictures. And not only svezheeksgumirovanny remains it seems “13“ or “Tourist“, but also tapes which, being alterations, already sank into oblivion long ago. As, for example, the criminal drama of Jim McBride “On the last breath“ with Richard Gere`s participation a sample of 1983. For those who are not aware: “On the last breath“ is a remake of an early masterpiece of the same name of Jean - Luke Godard, one of founding fathers of the French “new wave“ in cinema. In far 1960 executed a leading role in this picture which became to cult young, then still a little known to the wide viewer Jeanne - Paul Belmondo.

… It is necessary to live so that descendants envied. So Jesse Lujack (Richard Gere), the goof, the idler and dishonest small argues. Why to stuff itself the head with heavy thoughts of the future? It is necessary to live in the afternoon, to the full extent, without looking back at consequences. Here Jesse also does not look back. Has no such bad habit. Its only plan, artless and direct as an arrow, it to take the girlfriend Monica in an armful and to leave on a decline to Mexico where it is dry, warm and flies do not bite.

However events took a bad turn. On the way from Las - Vegas, the place of acquaintance of Jesse and the student - Frenchwoman Monica, in Los - Andzheles where his beloved studies as the architect, the guy walks smack in trouble. Now not only stolen “Porsche“, but also murder of the police officer is registered for it. Yes, there was it incidentally and Jesse`s gun did not belong, but in the absence of witnesses who will believe it? And if earlier the planned trip to Mexico was represented by pleasant walk, then now escape to the country of tequila and a sombrero became a necessity.

Monica is the girl practical. She does not know about the threat which hung over her casual acquaintance but also does not hurry to cast in the lot with the person who enjoys life to the full, without thinking of the future. It has a study, business meetings, prestigious work and so respectable acquaintances where Jesse, with his windy recklessness, does not fit in absolutely. But Jesse has one quality which the young girl to resist not in forces - he is live. Real. With it every day is an adventure. Dangerous, disturbing, exciting blood. The problem is that this adventure by definition cannot end hepp - endy …

can seem to Someone strange that the little-known director Jim McBride who did not remove neither to, nor after the tape “On the Last Breath“ of nothing significant, suddenly undertook adaptation to the American realities of cult classics, the first feature film of a live legend of the French cinema of Jean - Luke Godard. On the other hand, could only come to the American to mind, without any caution on regalia and titles, to reanimate a masterpiece of more than twenty-year prescription moreover and in purely Hollywood manner.

By the way, Americans went on Richard Gere who before was in time to become famous for participation in romantic dramas “American Gigolo“ and “Officer and Gentleman“. The powerful contribution of some there shaggy French to world cinema (to Godard`s movie scripted not who other, as Francois Truffo) visitors of the American movie theaters concerned least of all. Presence on the screen of a young bright star bore fruit - the picture collected nearly 20 million in native hire that for the criminal drama even is considered quite tolerant result today.

However if to look narrowly attentively, sendings to the original in McBride`s movie are visible with the naked eye. And an ear are heard too. In spite of the fact that the main character Jesse prefers to rush on life under legendary Gerry Lewis`s rhythms, the French notes in a musical subject slip constantly, being distinctly shown by an akkordeonny subject at the most romantic moments. And castling McBride made similar: in a tape of 1960 the young American Gene Siberg (died in 40 years in 1979) played the compatriot, and in 1983 - m changed her 21 - the summer Frenchwoman of Valery Kapriski.

Me was brought for the first time to study this movie in deep adolescence, in one of numerous video salons then still of our immense homeland. From the first viewing I remembered subject collisions a little, but here perfect forms of Valery to me for a long time sank down in soul. From a position of today all erotic prompts look, to put it mildly, modest. Nevertheless, the template of the young actress showing the delights at an early stage of a film career worked concerning Kapriski entirely: all its other projects (more than forty movies) are behind line of uncertainty.

We will not compare two movies and it and it does not make big sense, considering that very few people from today`s cinema-goers saw the godarovsky original. Nevertheless Americans, as well as it is necessary, fairly cleaned all social implication from a plot, having left on a surface only lumps. “On the last breath“ McBride is the purely romantic drama with criminal background passing sensitive issues of public morals.

Authors of the movie do not condemn and do not reproach the hero with total recklessness and recklessness. And we, the audience, have to accept it it what it is: impetuous small, promptly running “on the last breath“ to the natural final. By the way, the ending in Hollywood was “cleaned“ too because is more useless to Americans to leave from sessions in full disorder from what was seen. But the thinking viewer understands from first minutes of the movie that the destiny of the hero is unenviable, and anything good the similar asocial behavior cannot lead by definition to. Neither in rebellious France the sixtieth, nor in Puritan America the eightieth.

Verdict: quite good cinema if to forget or not to know at all about its “stereotyped“ origin. Of course, Richard Gere in places changes, but it can be written off for youth and desire “to raise the stakes“. It is difficult to recommend this picture for viewing of any audience because for men there is too much silly romanticism here, and for women, okromya the handsome man Gere, at all nothing remains.

The tape is deprived of any philosophical delicacy, representing a full-fledged commercial product. With only that difference that screenwriters had not to toil at a plot strenuously.