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| Rosario Dawson, um pecado... |
SIN CITY (USA, 2005) - A motion picture of smoky film noir aesthetics and comic book unrealities, Sin City proceeds with a boozy score, ultra-violence, and rampant sexuality. Such are elements that—when combined with black-and-white photography, splashes of vibrant color, men in long trenchcoats with guns, sleazy dames with attitude, and moody narration—emit a primal, visceral atmosphere saturated into every scene. At once seductive and abhorrent, it’s an experience that cannot be ignored, whether you’re offended or disgusted by it, or rapt by its unrelenting style. Robert Rodriguez’s 2005 hit adapts stories from Frank Miller’s Sin City graphic novels published throughout the 1990s, and in them, he finds a unique kind of cinema in which style reigns supreme. And not just the obvious visual luster achieved in the film’s fantastically shadowy presentation, where hard-boiled tales of Mike Hammer and Phillip Marlowe from the 1940s and 1950s are influences. In a most Tarantino-esque flourish, Rodriguez takes inspiration from various genres in film and literature and exaggerates them, amplifying them to comic books extremes until he compiles them into something so innovative it can only be described as new. Pay close attention to Rosario Dawson.
