Prisoners, directed by Denis Villeneuve and its screenplay, which is penned by Aaron Guzikowski is a compelling ride; a pitch perfect edge of your seat thriller that provides outstanding performances by Hugh Jackman; Jake GyllenHaal; Paul Dano, Terrance Howard, Melissa Leo, Viola Davis and Maria Bello. – Shot as if from the point of view of the audiences and I mean it literally, for its opening sequence holds one a hostage and through all twist and turns finally it releases the mind in a manner, cold in its nature, so unexpectedly. – But the problem here is, or perhaps I should say, the good thing is that even though you think your mind is free of the complex situation that the characters were in on the screen is not true at all. Hey, at least, for me it is not. I’ve been putting my thoughts lately back in that neighborhood, where Keller Dover limned passionately by Hugh Jackman, was searching for his daughter along with his friend Franklin Birch played by Terrance Howard.
David Fincher, one of my favorite film-makers, whose work is out of this world, once said, “To me I’m always interested in movies that scar. The thing I love about Jaws is that I’ve never gone swimming in the ocean again”. – Fincher, of course, artistically delivered a classic film, which is known as Se7en. Its conclusion, if it didn’t scare me of boxes, but it at least scarred this brain of mine. – Prisoners, jumps artistically in the same bucket fortunately. Every single camera angle here performs a role; there are some scenes that put the mind in a testing mode as much as your eyes. There is a chase scene in nighttime in the backyards of the neighborhood, as characters are running; we the audiences get the opportunity to see inside the house. Interiors of them houses poorly lit, as if a deep wound is getting stitched at the same time.
Keller Dover’s (Hugh Jackman) daughter and her friend go missing. And he takes matters into his own hands as the police pursue multiple leads and the pressure mounts. But just how far will this desperate father go to protect his family?
The film’s score composed by Johann Johannsson, in a monotonic manner, yet eerily, understanding the impact of a thriller genre pushes the plot ahead, deep, and it stirs the emotions within the conflict. Making it look like out of such situation forever one can never crawl out. The bruised up atmosphere, the sky and the clouds, under which stands on the freezing land that is carpeted with snow, the trees and people. Confused man, horrified hearts with faces looking blankly. – How can one make so suddenly such a mess so right again?
Detective Loki played Jake Gyllenhaal is trapped in a situation himself as much as Keller and Birch both are. Brain of ours designed in its nature as a maze itself falls in a maze that is designed by brain. Point is to connect A to B. Yet, Prisoners, offers no chance for one to step from A to B. It’s Z to A, in its nature. The Plot and its conflict push one deep so dark in the hole, where whatever step taken in order to make the wrong right seems necessary. – Roger Deakins, along with the characters in a world of coldness paints a grim picture that is so precise, which rhymes, every scene and camera shot, with the story, the dialogues and the gravity of tension and paranoia.
There has to be a sense of hope, right? – Although Prisoners holds your thoughts a prisoner, maybe forever, in the end of the darkness I am sure light will appear; perhaps through a tiny hole or from a crack in a corner. – Damn, it’s this maze. Alfred Hitchcock I am sure is smiling as he sits in a suit behind his desk in heaven.