“I want to see everything Guillermo does, but this movie in particular had a special power and resonated with me.‘,” says Martin Scorsese in his recent text for a newspaper, in this case, the Los Angeles Times.
Concerned about his poor performance at the US box office, where he debuted in December, the director wrote an article highlighting the virtues of the new Guillermo del Toro film, Alley of lost souls (This Thursday the 27th in Chilean theaters), adapted from the 1946 novel by William Lindsay Gresham which was made into a feature film a year later. “Annoying, but exhilarating at the same time. That’s what art can achieve,” the director wrote of the Mexican modernism.
“Obviously last Christmas was a difficult time to release any movie. But I also wonder if there is real appreciation for Guillermo’s achievement.”
In his view, describing the film as cinema noir does not do the film justice, as it centers around the aspiring worker of a traveling carnival (Bradley Cooper) and the poor exhibition of characters he meets.
Much of the film is set in the 1930s and seems to stem from the bitterness and desperation of depression – you can feel it in the visuals and the body language of the actors. All the characters in this movie feel real pain, and a sense of spiritual ruin rooted in everyday life. This isn’t just a matter of ‘style’ or ‘images’, no matter how great the movie is. It’s about Guillermo’s total commitment to the material.”
“Guillermo speaks of his time and for his sake, but he does so in the language of a bygone era, and urgency and desperation intertwine with urgency and desperation now in a somewhat worrisome way. It is like an alarm bell.”
“A filmmaker like Guillermo, who gives us images created with such love and passion, doesn’t just need our support: he deserves it,” he concluded.