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"The old man with a gun": Stole, drank - in prison

One of the most underrated films of 2018 is the indie drama that Hollywood oldies will give odds to any young people in 80 years.


Forrest Tucker - an elderly robber with great experience. He is always polite and courteous, and even threatening bankers with a gun, he behaves like a real gentleman. He hasn’t needed money for a long time - so much is hidden under the floor of the house that would be enough for five more generations of descendants (which Forrest, however, doesn’t have). But he continues his criminal path - because otherwise he cannot. One day, he, as usual, meets a woman, sweet Jewel (Jewel - literally "diamond"), and thinks about the end of a burglar's career. But the detective has already opened a hunt for him - also not without cockroaches in his head - offended at the way Forrest once circled him around his finger.

To be honest, of all the 2018 films of the year, “Old Man with a Gun” is almost the most difficult to approach from the point of view of any analysis. Not because this movie is bad (it is wonderful), and not because it is complex (it is, on the contrary, insanely simple), but because of how much this piece is solid, monolithic. He absolutely does not want to be divided into scenes, episodes, acts, or any other artificial markers of history — the film works in a single stream, and it seems to be an odd thing to do, to cling to the protrusions, or even destructive. In addition, the "Old Man" is almost impossible to fit into any context, social and especially political. For Lowry, for the second time in a row, there is such a “cinema in itself”, detached and surprisingly quiet for an adventurous criminal comedy.

Incidentally, this is a very curious dichotomy: the dynamics in The Old Man are enough - there are both robberies and chases, and at the same time the film is not at all loud, on the contrary, it is disarming (ha!) Calm. Polite crime, retro without nostalgic hysteria, even the editing of driving scenes is done without any special accents - where any other director would insert music more cheerfully, Lowry has enough soft background smooth jazz. He deliberately gets rid of everything alien, his entire dynamics exclusively in action, assembly phrases, camera movements. Lowry refuses to work with anything else but the immediate film language, just like his main character, who robs only by the power of words and never uses a gun (although he lies somewhere).

"The old man with a gun" completely grows together with his hero. It is the same simple, elegant and delicate: not a single shout, not a single extra intonation or an attempt to manipulate the viewer in any way. Even in the most melodramatic scenes, he remains calm: not cold — there is just enough emotion here, namely, calm, like a man who has long understood everything and is now just doing what he likes. In this regard, the central conflict, the struggle of feelings and vocations, is very reminiscent of the Shazelian "La La Land"(Or, in general, any other film Chazella), only Lowry has it much thinner.

It is clear that he, in fact, is talking about creativity, and not about any bank robbery. "The old man with a gun," in fact, in general one huge tribute Robert redford - to the great actor, that in recent years he worked unnoticed, somewhere on the periphery, occasionally appearing in notable projects (and this, by the way, gave us the Sundance festival). And it is no longer so important that the story at the heart of the film is real, and Forrest Tucker actually lived for himself, although he most likely was not a character so romantic. The main thing is that within the film, he becomes an ideal reflection of all the Sundance of the Kids and Johnny Hookers, the adventurous bastards of classic Hollywood who have become older, wiser, but are still ready to fight the young.

In a broader sense, Radford is a reflection of “old Hollywood,” in principle, of all those elderly guards who continue to work to this day. All Eastwood, Spielberg и Woody allenswho still make their “own” cinema, although the times are already different, and the demands from the audience have changed a lot. The hero Casey Affleck in this case is a representative of the cinema of the new, forever immersed in some kind of personal crises, mumbling to himself and vainly chasing the shadow of the cinema of the old. Which he, of course, will never really catch, and if he does, he will hardly understand what to do with him.

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