‘San Andreas’ to release in Hindi and English on May 29

28 May 2015 | Author: | No comments yet »

‘San Andreas’ built to entertain, not traumatise: Director.

When asked if there was ever a discussion internally about whether it would seem insensitive to sell a movie about a tragedy that has rendered so many people homeless and dead so recently, Johnson said, “We made the movie knowing and understanding the context—the world we live in and life we have today. New Delhi: “San Andreas” director Brad Peyton says that as a filmmaker he is sensitive towards the recent Nepal earthquake, but his forthcoming action-adventure-disaster film, about a devastating quake, is “built to entertain first” and not to traumatise people. “San Andreas”, which will hit Indian screens in Hindi and English on May 29, tells the story of a search and rescue helicopter pilot Ray (Dwayne Johnson) who must navigate through the destruction from Los Angeles to San Francisco to save his daughter after the San Andreas fault line triggers an earthquake of magnitude 9. “I feel like we respected the subject matter, we respected (the fact that) a sensitive earthquake had happened… and as a filmmaker, I’m very sensitive to that. I don’t want to, you know, make this a traumatic event for people,” Peyton said in a statement, about the fact that the film is releasing barely a month after the Nepal catastrophe. “I’m here to scare you in some ways, but in a very safe environment and again the focus is on the characters of this world and this story. For the director of San Andreas, Brad Peyton, it was important that the actors concentrated on their craft while the visual effects team worked their magic: “There’s a saying that I have with the crew, which was, ‘Let’s build the ride and put the actors on it.’ And what that really was representing was, ‘I don’t want them to have to fake it. The disaster pic promises nothing more than the complete CGI destruction of California as foregrounded by Dwayne Johnson’s jackfruit-sized biceps, and it delivers exactly that.

After providing some blissfully stupid B-movie thrills for its first hour, the film suffers from spectacle overkill (you know what’s cooler than an apocalyptic earthquake? But the truth is you go into a project like this with everything you have got and your heart and your soul, and you just want to make a good movie, and, again, you understand the context,” the 43-year-old actor said. “I am sensitive to people that have been through tragedies. Two apocalyptic earthquakes … and a tsunami) and a fatal lack of invention in its second, more concerned with toppling buildings one by one than ever drumming up a lick of suspense about the fates of those inside them. Still, “San Andreas” boasts an undeniable sort of pre-verbal lizard-brain appeal that should make it a strong earner, especially in territories far removed from the titular fault line.

Hewing much closer to Roland Emmerich’s teenage symphonies to Shiva than to the more conscientious disaster-pic approach of Juan Antonio Bayona’s “The Impossible,” “San Andreas” is the kind of film that can imply the violent deaths of millions of innocent people without batting an eye, just so long as the five or six Californians who matter make it out with only cuts and bruises. My job is to try to erase that as much as I can for you so that you can just get into those moments and do the beats and do your lines and have those real honest kind of emotional moments.” The story follows Johnson, a helicopter pilot with the LA Fire Department as he struggles to keep his family safe from the deadly tremors.

The recent earthquake in Nepal might make that proposition a bit dicier, offering a reminder that catastrophic natural disasters aren’t exactly, well, fun. (The film was forced to retool some of its marketing materials as a result.) But as thoroughly cheesy and mindless as it is, “San Andreas” certainly isn’t glib about its central calamity, and no one is lining up expecting documentary realism anyway. Talking about her experiences while facing an emergency situation, Panjabi said until she came to America, she hadn’t really been through any disasters. “And then, as soon as I moved to New York, I experienced a hurricane. With more than 1,300 special effects it was a tough shoot for the Hollywood cast. “For sure, there were moments for me in the rooftop sequence, and several moments when I was genuinely scared,” explained actress Carla Gugino. “I knew I was in safe hands. Ray (Johnson) is a hulking, heroic helicopter pilot who segued from flying missions in Afghanistan to performing search-and-rescue operations in Los Angeles.

I had twelve days without any electricity, any water, and you start asking deeper profound questions—how powerful Mother Nature is, how short life is, how grateful we should be for things,” the actress said. His soon-to-be-ex-wife, Emma (Carla Gugino), has shacked up with uber-rich building developer Daniel (Ioan Gruffudd), who is busy constructing the tallest, sturdiest skyscraper in San Francisco (this bit of information may be useful later). Action movie veteran Dwayne Johnson has his own theory as to why disaster movies are few and far between. “There’s a reason why disaster movies, there’s not five of them every single year. Ray and Emma have a college-aged daughter named Blake (Alexandra Daddario), who thumbs a ride up to the Bay Area on Daniel’s private jet, where she meets cute with fumbling, flustering British twentysomething Ben (Hugo Johnstone-Burt) and his obnoxious, wisecracking younger brother, Ollie (Art Parkinson). Meanwhile, a Cal Tech seismologist (Paul Giamatti), prone to muttering science-y gibberish under his breath while drawing lots of diagrams, heads off to Nevada to study a recent flurry of “mini-quakes.” These jolts give him the data he needs to predict future earthquakes — “something-something magnetic pulses mumble-mumble” — moments before a sudden trembler takes out the Hoover Dam.

As the assembled characters dodge debris and do lots of screaming — the quake demolishes L.A. and San Francisco simultaneously — Peyton shows us both the computer-scaled chaos (well rendered, if indistinguishable from the similar destruction present in every disaster pic and comicbook film of the past half-decade) as well as some glimpses at more immediate epicenters. Instead, the film simply doubles down on its initial gambit, as Giamatti’s scientist discovers that the biggest, most devastating quake in American history is merely a precursor for a bigger, more most-devastating quake that could turn California into Arizona Bay at any moment. Thanks to this lack of tension — when two major world cities lie in ruins, it’s hard to get too worked up over the danger of the rubble re-collapsing — the film drifts off in its last hour. Meanwhile, Blake and Ben develop a nervous sort of romance as they trudge through the streets, with Blake losing a new article of clothing at every aftershock.

Bay Area natives will surely chuckle at some of the geographic oddities here, as the trio consult a map to find their way from Chinatown to Coit Tower, a landmark that ought to be easily visible simply by looking up. Daddario maintains a bright screen presence, and she manages to keep her half of the narrative afloat well enough, yet Johnson is the main attraction. Best utilized when he’s allowed to arch his famous right eyebrow at the tumult unfolding around him, Johnson affects a more solemn, Stallonian presence here, and he’s as solid an action hero as ever.

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