never leave me (2010) , adaptation of the acclaimed novel of the same title written in 2005 by Kazuo Ishiguro I do not think a good movie . Since I have not read the novel will not go into tedious and / or predictable comparisons, but I will say that from the outset, do not understand why, if the action part of a disturbing truth to remain hidden at all costs , if that same plausible and can really enhance the plot, why not take advantage of the movie properly? The worst of the disappointing experience that I can not reveal anything that key without ruining the experience for those who have not seen. Because they can not, I can not even mention two previous titles - apparently lower, which, however, operate a much better starting point very similar - because the mere mention says it all. Years ago I read An Artist of the Floating World (1986) and I had a feeling like that now with the film: the narrative thread of a seemingly distant and strange they are dropped or glimpse some transcendental issues, of those who are supposed to make you think. From what little I could read before entering the room any text failed to mention the wonderful treatment of all these things did the writer (Alex Garland, writer and personal friend of Ishiguro), his skill at capturing feelings when faced with extreme situations . Although I think that has been more concerned to obtain the approval of the author (who incidentally also works in production) about the accuracy of adaptation that the end result. I must be dead inside, because all I got clear was a succession of moments allegedly expressed much more intense than what they meant. Maybe I'm unable to drop to levels that require introspection Ishiguro's stories, but I certainly do not feel there was something that escaped me, quite the contrary : a supplement of information that the images became more than just a vehicle of expression of individual feelings partially set, or at least a narrative structure that gives shape to a story barely hints.
I've said before and I never tire of repeating cinematic storytelling has a limitation to the abstraction that makes the composition of certain accounts that require more than just an exhibition of situations. In the film must be capable of, through specific scenes, know how to lead the viewer into universal feelings and ideas it is impossible to show images without resorting to risky or strange symbolism turns formal. No is an impossible task, as there are filmmakers who have jumped without a net and they went well ( Wenders, Fellini ), others not so well ( Pasolini, Erice ) but that is certain is that without abandoning the classic style of narration, without introducing any element of intrigue beyond feelings without exploiting the obvious benefits of original literary, it is clear that not get those who have not read the book interested in the hidden and untapped drama gripping the triangle protagonist.
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