Of all of Jan Kounen's works that I have seen so far, I regrettably find Blueberry (Also known as Renegade) to be his most insufficient attempt at another genre hybrid. Blueberry is a mythological western on the verge of The Road to El Dorado meets Tombstone; a film encompassing most aspects towards the rural life of the glamorized cowboy in the wild west, but also branches out towards the Injun side of life which includes their traditions, seeing freaky hallucinations, and also being the middle man between two warring civilizations.
Jan Kounen is a director that is very misunderstood in his native land of France. Most of his films have a eccentric touch to them that might fly right over French viewer's heads. Them Frenchies must not take to kindly to films that transcend over France's "unique" romanticist view on everything. Take Dobermann for example; that film took an American action feel and relayed it over a hyper-kinetic French cast which resulted in an explosive good time.
Blueberry however, is a solid excuse for their dissent towards the film, the border breaking, and the director. As a fan of many other of Kounen's works, Blueberry isn't the healthy polished film that I wanted from a film with Cassel as the lead character. This plays out as Cassel's mildest film. In all of his American roles, he adopts an accent to humanize his character with his surroundings, but in Blueberry, his accent was a neutral American and needed more southern twang.
The last 20 minutes or so is a heavy dose of articulate CGI as Cassel's and Madsen's mind initiates a spiritual battle and the personality of the film wears thin. In this scene, the true natures of both men show as spiders and snakes along with other creatures and anemones slither across the screen, relaying Cassel's memories. As this scene chugs by, you find yourself getting bored with the Michael Bay infused hallucinogen commercial and you wait for a hint of plot driven dialogue as you sit perturbed on a couch.
Blueberry is just another comic book serialization that links a leading French actor with many dying American stars such as Michael Madsen, Julliette Lewis in the nude, and Eddie Izzard. Not that there are many like this, but the film wears thin easy. I found the nature of the film to be whole-hearted but lacks any fiber that can make it worth its hefty run time. It would be best to see this film for a grizzled Vincent Cassel tripping balls, but that is about all I can recommend from it.
Jan Kounen is a director that is very misunderstood in his native land of France. Most of his films have a eccentric touch to them that might fly right over French viewer's heads. Them Frenchies must not take to kindly to films that transcend over France's "unique" romanticist view on everything. Take Dobermann for example; that film took an American action feel and relayed it over a hyper-kinetic French cast which resulted in an explosive good time.
Blueberry however, is a solid excuse for their dissent towards the film, the border breaking, and the director. As a fan of many other of Kounen's works, Blueberry isn't the healthy polished film that I wanted from a film with Cassel as the lead character. This plays out as Cassel's mildest film. In all of his American roles, he adopts an accent to humanize his character with his surroundings, but in Blueberry, his accent was a neutral American and needed more southern twang.
The last 20 minutes or so is a heavy dose of articulate CGI as Cassel's and Madsen's mind initiates a spiritual battle and the personality of the film wears thin. In this scene, the true natures of both men show as spiders and snakes along with other creatures and anemones slither across the screen, relaying Cassel's memories. As this scene chugs by, you find yourself getting bored with the Michael Bay infused hallucinogen commercial and you wait for a hint of plot driven dialogue as you sit perturbed on a couch.
Blueberry is just another comic book serialization that links a leading French actor with many dying American stars such as Michael Madsen, Julliette Lewis in the nude, and Eddie Izzard. Not that there are many like this, but the film wears thin easy. I found the nature of the film to be whole-hearted but lacks any fiber that can make it worth its hefty run time. It would be best to see this film for a grizzled Vincent Cassel tripping balls, but that is about all I can recommend from it.
-mAQ
THE DECORS WERE MADE BY THE VERY BAD JEW COMIC-DESIGNER MOEBIUS. THAT'S WHY I WANT TO COMBINE THE ABOVE FILM WITH THE FOLLOWING ARTICLE :
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Ernesto Mila
"Occultism and National Socialism"
"Ars Magna" editions, Nantes, 2016
This essay by the Spanish professor Ernesto Mila relies firmly on a poetic basis: ambiguity. We will justify our starting point further. It is rather rare for the French copyright-protected bibliography but this essay was translated for the first time in 1990 by Bernard Dubant and for Editions Pardès. This new translation by the house of Christian Bouchet "Ars Magna" (in Nantes) is fresh and unfortunately we can not compare it to the first since this new one is the only one we have read. "Even today, a good part of the vegetarian restaurants in Spain and places defending these postulates in this country, are related to the Theosophical Society or similar sects" (op.cit. page 28). The paranormal and yet historical side is emphasized from the first pages. Sorry Miss Helena Blavatsky but it seems that the Professor Mila does not like your teachings ! But both of you are published here in France by occult-related editors like "Camion Noir" (for you) or "Ars Magna" (for Professor Mila).
The ambiguous makes an appearance once again on page 72 (and much more pages further) where Ernesto Mila speaking of Alfred Rosenberg writes: "In 1928 at age 35 he published" The Myth of the 20th Century "(op.cit page 72). Other historians Rosenberg's masterpiece was written in 1930. Yet the great essayist was hanged by the allies in 1946. "His main crime would have been to have written this classic piece for occultism and chief of work in world literature. "In general, these sources tend to show that Nazism was satanic in its orientation" (op.cit.page 30).
But yet this beautiful step has been violently repressed in the world today. "Hitler got the atomic bomb but he refused to use it and among his secret weapons were the UFOs" (op.cit.page 135). Miguel Serrano, the Chilean ambassador who helped our favorite Savitri Devi to flee the allies (our enemies), wrote this sentence which could also serve as a conclusion for Mila's work: "at the end of the Second World War the San Francisco solution was adopted by the United Nations. That last one it mixes all the races so that the Jews can control them "(in "Miguel Serrano, a Hitlerian esotericist" Ars Magna editions, 2003, page 9). Let us reproduce a macabre but invigorating quote: "Hitler is alive but under the earth" (op.cit.page 134).
written by Dionysos ANDRONIS