Iñárritu prima di Babel, prima di 21 grammi, la sua opera prima: Amores Perros… estremamente interessante, un film dove i cani tengono in piedi la vita di persone che camminano sul ciglio del burrone.
Ecco una bella recensione:
Aristotle postulated the possibility of a drama without characters. According to The Philosopher, action should be the ground and source of the individual characters: “Without action the tragedy would not arise, but it might arise without characters” (13). Henry James held that the fictional character, “Homo fictus”, should be equal to action: “Character in any sense that we can get at it, is action, and action is plot” (22). Such action-induced characterization frames the tragedy Amores Perros. In this work, we explore the Weltanschauung of the protagonists of Amores Perros, who are trapped in different nexuses of contemporary Mexican society.
Directed by Alejandro González Iñárritu, Amores Perros juxtaposes three independent tales, which converge in a kaleidoscopic auto accident. The first deals with the incestuous love between an adolescent, Octavio (Gael García Bernal), and his sister-in-law Susana (Vanessa Bauche). The second is about an editor, Daniel (Álvaro Guerrero), who abandons his family to live with Valeria (Goya Toledo), a model that eventually has her leg amputated. The last tale focuses on an ex-terrorist and professional killer, “El Chivo” (Emilio Echevarría), who tries to recover the love of his daughter. Since González Iñárritu relies on the Aristotelian notion of characterization, he does not develop the inner life of the agents nor does he individuate them as Proust might. Nonetheless their choices reveal shocking personalities. Most of their attributes radiate from their actions, not their inner essences. It is as if they were points destined to move erratically along a plane until they meet a crack in the surface (the crash) or an edge (murderous brothers meet). The result is a Picasso-like architecture.
Melodramatic elements–infidelity, secrets, love triangles, prohibited sexual desire and violence–abound in Amores Perros. But while typically in a melodrama there are two antithetic figures: the protagonist who personifies the good, and the antagonist who personifies the evil, in Amores Perros all the Homines Ficti are antiheroes. In addition, they are very superficial characters. They inflict pain on one another without an apparent motive, even self-interest. Schadenfreude is their only pleasure. All have feet of clay-vices expected by current aesthetic sensibilities. Told separately, the tales of Amores Perros resemble modern soap operas. Intrigues and antiheroes abound and the reality reflected represents the extremes of life.
The egoism of the characters of Amores Perros blinds them to opportunities to change. Instead of emphasizing human complexity, the director centers on the plots, which generate the characters (defined by how they are ensnared). Contradictory motivations which generally reinforce the characters as dramatic figures, and make them more convincing, recognizable, and definable must be inferred. The observer must project meaning to recover any familiar sense of agency.