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Deep Dive: Film Threat’s Assessment of ‘Part One – A Child Of Fire’
Deep Dive: Film Threat's Assessment of 'Part One – A Child Of Fire'
Part 1 In the first part of Zack Snyder’s galactic epic Rebel Moon: Part 1, things are going very wrong on the other side of the sky. A dynasty of 1,000 kings ruled a part of the universe, ending when the last of their descendants was killed. On a farm on a remote planet, Cora (Sofia Boutella) is hard at work behind the plow. Her colleague Gunnar (Michiel Huisman) oversees the grain harvest and seems to be having a lot of fun. But their planet is invaded by a Nazi-like space tyrant who plans to take over or wipe out the civilization in memory of the slain king. Initially, the villagers suspect that they may be working with Atticus Noble (Ed Skrein), the leader of a landed hit squad. Kora warns them that the tyrants will keep taking until there’s nothing left, but the villagers find out the hard way. Kora attempts to flee the village, but is thwarted when the invaders attempt to capture her and another village girl in a gang rape. Soon Kora must travel to the worst places on Earth and beyond to recruit a band of outcasts and outlaws who can defend the village from the fearsome battleship. If you think you’ve heard this story before, you’re wrong.
First off, let me know that I am not a total Snyder supporter. Half of his work did not convince me, but the other half worked very well. Watchmen was not as interesting as the opening credits, and Army of the Dead was a huge flop. But Justice League: Justice is Gray is probably the most beautiful black and white movie I have ever seen, and I appreciate its dark take on the Super Friends. So, even though I was interested in Rebel Moon, I did not want to forgive him for failing.
So I spent the first 40 minutes looking for the dead parts. Everything looked subdued and understated, and the only grandiosity came from the uplifting soundtrack. Then Snyder does the same thing Lucas did in the cantina and whips the monster. Suddenly you get an idea of how far things are going to go. And every time there’s a big move, Snyder does the same thing Lucas did in the cantina and whips the monster. Suddenly we get an idea of how far we’ll venture. And Snyder expands the visual frame with each major movement. So instead of sprinting from beginning to end, Snyder’s screenplay, with Kurt Johnstad and Shay Hatten, climbs the ladder, digging deeper and deeper into its concepts. It’s a perfect example of what the great critic Quentin Crisp called the important diversity of tone.
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