Dallas Buyers Club (Jean-Marc Vallée, 2013)
Ron Woodroof (Matthew McConaughey) discovers he has
AIDS in 1985, a disease wrongly known as a consequence of being homosexual. He
gets to illegally import drugs to treat his condition and help many other
patients having the same disease to attenuate the symptoms and live longer than
expected.
Based on Craig Borten’s
script together with Melissa Wallack
and his interviews with the real Ron Woodroof, Dallas Buyers Club is a work of love and admiration towards a real
man full of will and far from being perfect. His life before being diagnosed
HIV positive was rodeo, drugs, alcohol, unprotected sex with numerous women and
a daily job as electrician. He was always trying to figure how to take an extra
buck from anything. It is no surprise how he got to start the DBC, shorter for
Dallas Buyers Club. At first it was to make money and distribute the drugs
without selling it. Members only paid a membership to participate but as he is
evolving in this milieu, he wanted to help this community and change things for
the better. In many ways, Woodroof is a hero and an anti-hero.
The strongest link in Dallas
Buyers Club is the acting of McConaughey as the lead in all its great
character study and his amazing physical transformation altogether with his
recent judicious choice of roles and the fact that he let his typecast roles to
take more chances. Dallas Buyers Club
was passed so many times but McConaughey took the risk of this script and gave
one of his best performances. With his swag and presence bring truth and just
the right amount of arrogance and sensibility for this potential Academy Award
winner role.
Along with Jennifer
Garner who gives a nice performance as the Dr. Eve Saks and the chameleonic
Jared Leto as the transgender Raon
those are performances that will leave a strong impression on the film history.
For once, we have a story that takes its smaller roles and rise them to fully
evolve and interact with the protagonist in a way that it makes a difference in
the final film.
Made with a small budget for today’s standards, 5 millions, Jean-Marc Vallée’s first directorial
credit to be nominated in the Best Picture category at the Oscars promises
great things for this Québécois director. Having liked to different levels his
previous films of Black List, C.R.A.Z.Y., and The Young
Victoria some visual yet subtle signatures are in Dallas Buyers Club. For example, his use of focus on a deep element
in a shot then in the same shot a refocus on an element closer to the camera
eye. It is interesting to watch evolve a director that came from the place as I
am.
It is already a miracle that this film was made it is even
more a blessing that it was nominated at the Oscars for so many major
categories. They are fully deserved and it proves that a great story doesn’t
need a great budget to make an important motion picture.
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