Over the years, and in what refers strictly to the cinematographic medium, the term “author” has been progressively perverted, feeding on a certain elitist touch that tends to have no filmmakers associated with specific genres or with less introspective wills, for example. so to speak. At the end of the day, this status is still granted by a series of distinctive and thematic features recognizable in a filmography, which makes Carpenter as author as Kusturica.
Within the bulk of active filmmakers who do not fear in attract the general public while proudly wielding their authorship stamp is a Guy Ritchie who resurfaced like a phoenix in 2019 with his hilarious ‘The Gentlemen: The Lords of the Mafia’ after the Disney factory completely eradicated his genetic code from the terrible live-action remake of ‘Aladdin’.
Two years later, the Hatfield man returns to the fray with ‘Awaken the fury’; a crime thriller one hundred percent brand of the house and hypervitaminated with a good dose of high-voltage action that, although it is not one of the director’s most personal pieces in terms of style, it does sneak into the large group of successes of his prolific career.
Revenge a la Ritchie
It is very likely that the viewer who goes to ‘Wake up the fury’ expecting to meet the freest and freest Guy Ritchie will end up slightly disappointed when they come across a much more cautious and restrained production and staging than one might expect; probably conditioned by the condition of remake of the film, which adapts the French title ‘Le convoyeur’ by Nicolas Boukhrief.
Except in very specific moments in which they do make an appearance, those frolics with a camera and a free and spy montage remain far away. Instead, we find a formal treatment that is more academic than usual but that, on the other hand, enhances the strange sobriety of the whole without implying any kind of burden on some. wild and hard-hitting action scenes that find their zenith in a truly spectacular climax.
But this eventual relaxation of its usual narrative vigor is by no means synonymous with the total absence of the essence ritchie; present this time through the tone, the structure, and a Jason Statham who once again doubles with the director, unleashing that innate gallantry and that harsh voice on a custom-made role.
The savage dialogue, the falsely solemn tone adulterated with an aura of the darkest veiled comedy, and that characteristic charming swagger are just little additions to spice up the big star of the show: a non-linear narrative cooked up in the editing room that completely resizes the tape.
The theory of the script says that the midpoint of a feature film must completely transform it into something completely different, and in the case of ‘Despierta la fury’ this premise is fulfilled to the letter; articulating an interesting change of point of view that mutates the revenge thriller used in a heist film which far outperforms recent counterparts like ‘Triple 9’ or ‘Thieves Game’, and which can look eye to eye with modern referents like Michael Mann’s timeless ‘Heat’.
Finally, both sides of the film converge in a final scene that is as longed for – a fantastic use of anticipation – as it is satisfying. An icing on an appetizing cake that can’t help wandering between all too common places of the two exploited sub-genres and that, even so, stands out among its competitors thanks to a Guy Ritchie who, although only half manifests his character, knows perfectly how to offer the respectable an electrifying show full of self-conscious and delicious toxic masculinity.