The Creator it is not the portrait of the bad demiurge theorized by Emil Cioran, nor even a tribute to the beloved divine scoundrel, a pagan divinity dear to the Sioux and the African Dogon. In Italian cinemas from 28 September, the feature film is a successful and very free transfiguration on the big screen of Nirmata, the chronocrator god of Nepalese cosmogony. But we are not faced with an abstruse docufiction on oriental religions. In fact, the idea came to director Gareth Edwards while he was driving around the fields of the Midwest. Suddenly, in the middle of the tall grass, a factory bearing a Japanese logo appeared. Which in all likelihood manufactured robots. As a science fiction enthusiast, the filmmaker imagined being an android built in that factory and having never known anything else; then one day something went wrong and he found himself out for the first time, in this field, seeing the world, the sky: And so a film was born that centrifuges science and religion, Good and Evil, human beings and artificial intelligence . A powerful fresco that depicts a near future, anything but reassuring, yet not devoid of hope. An original and engaging reflection which, through the stylistic features of fantasy-action, talks to us about war, artificial intelligence and the fear of what is different, to the tune of “and “Flight Of The Rat” by Deep Purple and the wonderful “Everything In Its Right Place” “by Radiohead.
THE CREATOR, The plot of the movie
Blade Runner dwells in many sequences of The Creator. But in Edward’s film the androids no longer dream of electric sheep. They’re too busy saving Ghirba electronics since humanity has declared war on them. Planet Earth, in fact, believes that Artificial Intelligence wants to take over. The Americans primarily believe that robots detonated a nuclear device in Los Angeles that incinerated a million people. So Joshua, a former special forces agent, devastated by the death of his wife, is recruited to find and assassinate the Creator, the mysterious creator and responsible for the war successes of artificial intelligence. A leader capable of developing a secret weapon, capable of putting an end to the conflict… and to humanity itself. Joshua, together with his team of massive and badass soldiers, overcomes enemy lines and invades the dangerous zone occupied by the AI. But the apocalyptic weapon is embodied in an innocent little girl with extraordinary powers.
A Heart of Darkness
The Creator it is a journey into the “Heart of Darkness”, translated into words by Joseph Conrad and transformed into images by Francis Ford Coppola. Apocalypse Now has moved into a future in which West and East battle, but in the end the risk is that both contenders lose. And the protagonist (an excellent John David Washington, an increasingly mature and convincing actor) does not seek a mission for his sins like Captain Willard, but a lost and never forgotten love, even within the rules of the genre and aware of the logic economic blockbusters, Edwards reiterates his gaze free from clichéd passages. The inspirations and even the quotes (in no particular order Finishtor 2 Rain Man, Vende@a, ET the extraterrestrial And Paper Moon – Paper Moon) rise to the surface just like a Franciacorta sparkling wine poured into a glass and the result is equally effervescent and tasty, never stale and unpleasant.
Even an android can cry
Likewise to his previous titoli: Monsters (2010) Godzilla (2014) Rogue One: A Star Wars Story, the British filmmaker chooses science fiction to decipher reality. Without cinema affectations arty or indie, useless explanations, with moderate use of digital special effects, the film questions what the evolution of Artificial Intelligence could be in the coming years. And with insight, he introduces us with an intriguing vintage black and white sequence that refers to the iconography of the fifties and sixties with robots, similar to the ineffable Robby from Forbidden Planet. Except that humans, to return to Apocalypse Nowthey often are The empty men of Eliott’s poem of the same name, recited by Colonel Kurtz, or: “Figure without form, shadow without color, paralyzed strength, gesture without motion”. But by a curious coincidence as happens in I am Captain by Matteo Garrone, The Creator ends on a close-up of a smiling young man. In this case it is a little girl. Will the woman save the world? What we will discover is that Vision, the Marvel superhero, is not the only android capable of crying.