Two Will Smiths, 120 frames per second, 3D+. Gemini Man is one of those films that wants to change the 7th line art. But despite his wits, does Ang Lee’s latest feature manage to double the stakes?
Films that use technological means to transport audiences are rare in the history of cinema. Of course, silent cinema has provided itself with words, color has arrived, long before cinema gradually abandoned the iconic reels of the 21st century and sent ever-larger avalanches of pixels before our eyes. Currently, most rooms are equipped with a UHD digital projector. And again, we’re not talking about the ever more immersive sound, Dolby Atmos in the foreground. On the other side of the camera, technology also helps to get things done. Since the 1990s, in particular, technical slaps have become commonplace, from the Jurassic Park animatronics to the capture appearances of Andy Serkis and the character Gollum in The Lord of the Rings,
Gemini Man wanted to imagine himself as the modern-day Avatar, also incorporate a lot of technical feats to push the boundaries of cinema even further, and formalize 3D+, a snobby marketing term meaning 3D shot at 120 frames per second (and broadcast at 60 frames per second). . But, if you want to do too much, Ang Lee’s last baby (The Odyssey of Pi, The Secret of Brokeback Mountain…) doesn’t risk being a simple tech demo without any substance?
A double story
Gemini Man is the story of Henry Brogan (Will Smith) who distinguished himself during his lifetime as an extraordinary professional assassin. Suddenly, as he prepares to hang up the phone and take a well-deserved pension, he becomes the target of assassins, and in particular by a young and mysterious agent who is none other than his rejuvenated twin by a quarter century. Here’s how to serve a technical feat, Ang Lee recycles for the umpteenth time one of Hollywood’s long-tried screenplays, when the lead actor comes face to face with himself. A definite frame, halfway between Volte-Face by John Woo and Looper by Rian Johnson and his unexpected partner Joseph Gordon-Levitt/Bruce Willis. The Gemini Man project was also animated for a long time with the idea of Clint Eastwood in the title role, but never saw the light of day due to a lack of technical means, until Ang Lee picked it up. .
Gemini Man pushed the vice even further thanks to recent deepfake tech and seizing the opportunity to land Hollywood’s highly wooed star: Will Smith. An undeniable advantage: everyone knew what the actor was like when he was young. From Prince of Bel Air to Bad Boys or even Men in Black, everyone can attest to the magic that shines on Smith’s face. As for Ang Lee, he was able to easily restore the actor’s old image, enough to draw enough material to recreate the early Will Smith. And because the film relies almost entirely on these characteristics — and it sells on that promise — the director doesn’t do a half-assed job. An extraordinary artistic direction that subtly highlights the play of American stars. Between fiftieth with a tormented gaze nearing retirement and the ambitious young Will Smith, full of life and restlessness.
120 balls per minute
The rejuvenating tech at work in Gemini Man really does work, but it has to because the direction and frame rate leaves no room for flaws. Shot at 120 frames per second, Ang Lee’s feature film wants to push realism to its climax by opting for flawless fluidity, with no motion blur, no offense to staunch defenders of the traditional rate set at 24 frames per second for extended periods of time. century. In Gemini Man, nothing escapes the audience, and the director has fewer opportunities to hide the flaws in Will Smith’s subtle face. It’s simple, lacking, non-existent, or minimal (a few scenes here and there, especially when 23-year-old Will Smith finds himself in the daytime), even if we feel that Ang Lee must have been confined to certain scenes, too much tool fault. heavy, this sometimes makes the image too smooth or too bright.
After all, the feature film’s frame rate gives us a realism rarely seen in cinema as our old eyes get used to the traditional 24 frames per second and the motion blur that goes with it. In fact, the scenes are sometimes so fluid that sometimes you have the odd feeling that the action is losing its spectacular side. But above all, these high frame rates increase, if not zoom in 3D, which has full meaning and which, freed from motion blur, (eventually) no longer renders