Originally, Corneliu Porumboiu's film Whistles it looks a bit dry, as its story of corrupt police and gangsters begins with muted color paint and strong characters. But the quirky details point to a strange, dumb, and humorous story reminiscent of Wes Anderson's style and tenacity. The film does not reach Anderson's level of twee-ness, however. In turn, Whistles& # 39; A medium-sized tool, many affiliate stories, colorful field cards, and a bittersweet, romantic ending creates a sense of Steven Soderbergh (11th Ocean, High Flight Bird) to take a page from Anderson's book.
It has long been considered normal in Porumboiu's work A gem and Police, Annotation are nowhere to be found Whistles. They are replaced with clean speed and a series of flashbacks, as corrupt Cristi (Vlad Ivanov, Romanian Michael Keaton) gets caught up in a money-laundering scheme. After a request from the good Gilda (Catrinel Marlon), she heads to the island of La Gomera to learn El Silbo, (the original language) of whitewash, so she can help get the twisted businessman out of prison. The strange thing is that no one is clean. Criminal gangster Cristi is helping dishonestly, but her police colleagues are also missing. His manager Magda (Rodica Lazar) takes all the serious meetings outside his office because he knows it's been said, and he has no problem planting evidence to find his way.
The fun of the film is not in tracking how much money goes, much as it does in each entry, especially as the characters grow more and more similar. (The main scene in the film is Opera, a hotel whose staff just sit and play opera records. While Cristie discovers this annoying trend, the clerk claims to educate her customers.) As agencies develop, each new character is introduced by a person with a tribal name. Not all fill all three categories, because the story moves very quickly. But that's not really important, given how strong anchor Cristi is.
Ivanov's artificial features take on a comedy quality as Cristi's throat grows, fueled by her attraction and love for Gilda. As he slowly gets better at the slaughtered language, and it becomes increasingly clear that he is a wolf in the big game, Porumboiu's focus on clarity is clear and clear.
El Silbo is interesting in part because it is real, and part of the way it is structured, that puts a climbing map above the Spanish syntax, and converts the language music from the metaphor into reality. But the language barriers do not stop there. Police do not mention El Silbo, which is why gangsters use them, especially as they are often confused with birdong. The characters, however, speak Romanian, Spanish and English, depending on the context of their conversation partners. Cristie's whistle-blowing lessons, for example, are offered in English. The El Silbo version seems to emphasize how the language can be damaged, as the wrong tone or height of the note – due to ignorance or the breathing film on the part of the whistle – can dramatically change the message.
The web of languages is so made up that it is almost disappointing when the film, by necessity, defects in regular crime movie conventions, as conflicts between criminals and police begin to escalate. The last few horns are more fun than any chase or shot. It is noted, however, that the last incident occurred without discussion. The two characters are simply staring at each other, and the shape of the Porumboiu in this look makes it very touching, if not a small chest. Permanent flashbacks and asides fill in information that pays off at fixed intervals.
With Whistles, Poromboiu has put together a good mix of things, from twee word cards and the use of obscene language to a seemingly complicated dairy police and a woman's tendency. As the movie seems to be compared to his other works (the Romanian New Wave is not known for its light, good news), it is told with subtlety, delight in language and the way stories are told not to be allowed just one story by a corrupt cop.
Whistles the theater has now been released.