“Concentrate on the details” a phrase which occurs in “the Anthropoid” twice, and then, after timing, sends it to a number of films, ironically don’t pay attention to the advice in their scripts. An exception in this case is following the main dry facts submitted in the name of the event, e.g. in the closest re-creation as a direct attempt at murder of Heydrich and the innards of the Cathedral, which took refuge and was besieged dispose of his soldiers. In other words, this is something that can be read in books (or on Wikipedia) or to study the set. Much harder for creators to work yourself from scratch, creating around the abovementioned events, the environment in which they could function as a drama.
It is a historical movie in which white text on a black screen more than a minute gives a brief retelling of the history (beginning with the Munich agreement), culminating slowly and harshly encountered with the words “based on a true story” and directed by Sean Ellis and co-writer Anthony Frewin subsequently rarely go above that dubious level. They were waiting for a trap that engulfed many in the richest series of real events they can find a cohesive idea that could be put in the center, and it is mechanical to move from scene to scene.
Where to be alive is knowing each other people sound replica-crutches, divided into three variations corny-declarative (“Sometimes you have to choose your side”), corny-informative (“In 1939, when Germany took control of Czechoslovakia…”) and inappropriate pathos (“He’s strangling the Prague sheets of fear!”), while the atmosphere of fear and said pressure is transmitted not so much specific actions as immersing the frame into a Sepia tone. In addition, Ellis shoots almost every scene trembling Borovskoy camera and minimizes the original music that would like to give a deadpan performance, but it also hides a lack of perspective; when the film requires the viewer to squeeze out the emotion, he resorts to the most vulgar of ways, some of the characters forcing read aloud of Shakespeare, other play a sad tune on the violin for minutes before the door break down the Nazis.
“Anthropoid” works best when the characters shut up and start to work; scene of the assassination predictable turns out to be the most spectacular in the film, because it brings together a deliberately chaotic shoot with the understanding that the screen is recreated important part of true history. Here the writers are making the context and the actors enough physically to repeat the actions of the people they are playing. And, except for a closed charisma Killian Murphy, which he keeps with him always, they both lost when it comes to fictional romantic lines or responses to the execution of hundreds of people in retaliation for Heydrich. Even the most critical issue associated with the assassination attempt was it worth it reduced to a brief spatter saliva, after which the film decides that the topic can be closed. What to say about all the other conflicts.
Put the film a rating!