Leafing through a diverse and interesting filmography Craig Gillespie It is quite easy to understand how inclined the director is to become a not always good-natured singer of “outsiders” forced by their human limitations or a system of coercion on the margins of the social structure. We think of poetic and equally disturbing Ryan Gosling From Lars is his own girl (still his most risky and successful film today), in Margot Robbie AND Allison Janney poisonous daughter and mother Tonyaand, ultimately, also dazzling Emma Stone From Cruellaperhaps Gillespie’s best combination when it comes to matching core and personal vision.
This is new Dumb Money fits into this cinematic discourse, which aims to give a voice to those who too often do not have one: telling a story concerning a famous financial case involving shares GameStop – keeping half of America glued to the news between late 2020 and early 2021 – Gillespie shows how sometimes, even if the cases are sadly becoming increasingly rare, the average person can thwart the work of the powerful by blocking him, even if don’t overthrow him. Story Dumb Money it actually follows the exploits of Keith Gill (Paul Dano) is an unknown financial advisor and avid YouTuber who, by betting on the shares of a video game store chain that was on the verge of bankruptcy at the time, plunged many of the giants of American finance into a colossal crisis, raising a real popular action, especially through Reddit. When the company’s shares soared to unprecedented values, the same “system” of power, with its back against the wall, peremptorily (and legally?) intervened to restore the status quo.
Dumb money, good and bad together
Using a clear and precise script Lauren Shuker Bloom AND Rebecca Angelo – in turn taken from the book Antisocial Network From Ben Mezrich – Craig Gillespie constructs a complex and vibrant human puzzle, separating the good from the bad with sardonic sophistication, without necessarily making them two opposing and contrasting sides. The humanity presented in this feature film, as in the best of its previous ones, is staged in all its inclinations, even the less didactic ones. There are no honest heroes or antagonists devoted solely to evil. Dumb Money, simply people who try to do their best, even when it is perhaps only about their personal gain. Without pressing too hard on the social satire pedal, Gillespie presents us with characters who are easy to laugh at, surprised or even ridiculed by situations even when they should be able to handle them. From this point of view, Gabe Plotkin played very effectively. Seth Rogen becomes the film’s most comical figure, a sort of naive “Candide” who finds himself managing and losing billions of dollars with little understanding of why.
For his part, Gill’s frankness and wisdom are an exact analogue, but not distant, not “other” than Plotkin, which makes Dumb Money a film based on dualism that is so effective precisely because it is far more nuanced than one might think. And it is this desire to place all parties involved in a universe that ultimately contains them without dividing them excessively that proves to be a drag Dumb Money: While the film works without any glaring flaws, the film feels “low-key” at some points when it could have instead gone further with the corrosive and unapologetic social comedy that Gillespie clearly demonstrated mastery of, just remember the ferocity Tonya.
Another example of modern social injustice
WITH Dumb Money – the title comes from the derogatory epithet that American financial hawks use to describe small investors who make pitiful amounts of money in comparison – we find ourselves with a syncopated and hilarious story of another small but great case of modern social injustice, an episode which, however, demonstrated how the alliance of the silent multitude may instead become the roar of those who oppose economic exploitation. The Most American Film in History and at the exhibition, with all the advantages and limitations that arise from it. A product that is undoubtedly worth seeing and appreciating, in which a large and close-knit cast wanted to take part.