{"id":21992,"date":"2019-10-26T14:15:49","date_gmt":"2019-10-26T17:15:49","guid":{"rendered":"https:\/\/cinematologia.com.br\/cine\/?p=21992"},"modified":"2019-10-26T14:30:13","modified_gmt":"2019-10-26T17:30:13","slug":"critica-the-death-and-life-of-john-f-donovan-2018","status":"publish","type":"post","link":"https:\/\/cinematologia.com.br\/cine\/critica-the-death-and-life-of-john-f-donovan-2018\/","title":{"rendered":"Cr\u00edtica | The Death and Life of John F. Donovan (2018)"},"content":{"rendered":"\n

Nota do filme:
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<\/p>\n\n\n\n

Assistir a The Death and Life of John F. Donovan<\/em> se torna uma experi\u00eancia mais acess\u00edvel quando se est\u00e1 habituado \u00e0 filmografia de Xavier Dolan, excelente cineasta que, com seus meros trinta anos j\u00e1 possui um impressionante curr\u00edculo recheado de \u00f3timos trabalhos (n\u00e3o custa lembrar que, aos vinte, j\u00e1 era celebrado em Cannes). No entanto, por mais elogiosas que as palavras acima soem, o fato \u00e9 que a observa\u00e7\u00e3o que inicia este texto consiste em um problema: todo filme deve funcionar por conta pr\u00f3pria e, uma vez que condi\u00e7\u00f5es externas s\u00e3o necess\u00e1rias para que a obra fique mais palp\u00e1vel (como, por exemplo, estar familiarizado com a carreira de seu criador), algo acabou n\u00e3o sendo bem sucedido no processo. <\/p>\n\n\n\n

Contada a partir de uma ordem que justifica seu t\u00edtulo, a hist\u00f3ria \u00e9 dividida em tr\u00eas frentes: o jovem Rupert Turner (Jacob Tremblay) e seu fanatismo pelo ator John F. Donovan (Kit Harrington); a vers\u00e3o adulta de Rupert (Ben Schnetzer), que relata \u00e0 c\u00e9tica jornalista Audrey Newhouse (Thandie Newton) a troca de correspond\u00eancias que mantinha com o astro quando garoto e a vida do pr\u00f3prio Donovan, que toma um rumo turbulento quando a imprensa descobre as cartas na mesma \u00e9poca em que sua homossexualidade se transforma em alvo dos tabloides.<\/p>\n\n\n\n

<\/p>\n\n\n\n

\"\"<\/figure><\/div>\n\n\n\n

<\/p>\n\n\n\n

Se solidificando no que se costuma chamar de “Cinema de Autor”, Dolan volta a empregar escolhas narrativas e est\u00e9ticas que se tornaram suas marcas registradas. Assim, temos a praticamente obrigat\u00f3ria rela\u00e7\u00e3o conturbada entre m\u00e3e e filho. No caso, m\u00e3es e filhos, nas figuras de Sam Turner (Natalie Portman) e Grace Donovan (Susan Sarandon). Tamb\u00e9m h\u00e1 o emprego de cores e m\u00fasicas que tornam o diretor um realizador que n\u00e3o sente nenhuma vergonha em flertar com o brega \u2013 e o fato de ele abra\u00e7ar essa decis\u00e3o, reconhecendo-a e sem medo de ser feliz, lhe confere pontos pela autenticidade.<\/p>\n\n\n\n

Demais aspectos da dire\u00e7\u00e3o, por sua vez, atestam que o canadense vem evoluindo e adquirindo uma maturidade que j\u00e1 nem pode mais ser chamada de promissora. Tomemos, por exemplo, a luz vermelha que toma conta de um jantar potencialmente tenso na casa de Grace, pontuando um alerta de que aquela situa\u00e7\u00e3o deve sair do controle. Na mesma cena, Donovan \u00e9 filmado em um \u00e2ngulo inclinado, diferente dos demais, ressaltando seu desconforto no momento. Outra op\u00e7\u00e3o interessante s\u00e3o as tomadas a\u00e9reas da cidade, que, mostrando diferentes climas, d\u00e3o ind\u00edcios do que se passar\u00e1 a seguir na vida dos personagens. Mas talvez o ponto alto seja a cena em que a vers\u00e3o jovem de Rupert, ao ver certa entrevista na televis\u00e3o, est\u00e1 cercada de uma poeira flutuante que, destacada pela luz, funciona como uma elegante met\u00e1fora de seus sonhos sendo despeda\u00e7ados.<\/p>\n\n\n\n

<\/p>\n\n\n\n

<\/p>\n\n\n\n

\"\"<\/figure><\/div>\n\n\n\n

Outros detalhes tamb\u00e9m contribuem para enriquecer a narrativa, como o quarto do garoto, que parece um pequeno templo dedicado ao \u00eddolo, e a letra verde utilizada nas cartas que chegam a Rupert. Por vezes associada \u00e0 ideia de algo vilanesco, a cor \u00e9 bem empregada, j\u00e1 que uma crian\u00e7a se correspondendo regularmente com um adulto desconhecido gera evidentes preocupa\u00e7\u00f5es.<\/p>\n\n\n\n

Por\u00e9m, h\u00e1 alguns elementos que tornam o longa menos eficiente: a montagem \u00e9 por vezes irregular e acelerada demais; o roteiro n\u00e3o desenvolve bem algumas quest\u00f5es que se prop\u00f5e a abordar, sobre a fama e a natureza do artista; certos “n\u00fameros musicais”, que funcionaram muito bem em Laurence Anyways<\/em> e Mommy<\/em>, aqui s\u00e3o pouco inspirados e, por fim, o terceiro ato n\u00e3o deixa muito espa\u00e7o para uma esp\u00e9cie de d\u00favida que parecia ter sido criada intencionalmente, isto \u00e9, at\u00e9 que ponto a narrativa de Rupert \u00e9 confi\u00e1vel.<\/p>\n\n\n\n

De todo modo, The Death and Life of John F. Donovan<\/em> passa longe de ser um escorreg\u00e3o, embora seja, com tranquilidade, o prato menos diger\u00edvel do card\u00e1pio do brilhante chef<\/em> Dolan.<\/p>\n","protected":false},"excerpt":{"rendered":"

Assistir a The Death and Life of John F. Donovan se torna uma experi\u00eancia mais acess\u00edvel quando se est\u00e1 habituado \u00e0 filmografia de Xavier Dolan,… <\/p>\n","protected":false},"author":81,"featured_media":21993,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[9],"tags":[1694,3500,1852,3499,1539,1142,3501,337],"class_list":["post-21992","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-critica","tag-1694","tag-ben-schnetzer","tag-jacob-tremblay","tag-kit-harrington","tag-natalie-portman","tag-susan-sarandon","tag-thandie-newton","tag-xavier-dolan"],"yoast_head":"\nCr\u00edtica | The Death and Life of John F. 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