THE EQUALIZER has made the top of the cinema charts in Germany. It is a symphony of perfect images. Director of photography Mauro Fiore created a masterpiece of light and shadows, of endless moments and unforgettable iconic takes.
When Fiore’s camera pans around our Russian villain Teddy (Marton Csokas) leaning back shirtless in his chair, alert and confident like a lion on the prowl, he starts to hang like a crucified Antichrist above the city lights.
Later there’s our überhero McCall (Denzel Washington), as he lies on the ground, clad in black, arms outstretched, amidst glittering shards of shattered mirrors, almost spent. Christ and Antichrist, hero and villain, light and shadow. Both actors are captured in the same rhythm, portrayed either as shadowy silhouettes or in a warm, almost caressing light. We learn from the images, that those two are of the same predatory nature. I saw this film in German, and for the first time I didn’t mind (although I would like to have heard Csokas’s take on a Cockney accent in a Russian villain).
This film speaks through photography, light, location and set design. A perfect piece of cinematographic art, made possible by concise screenwriting, brilliant acting and great directing. Antoine Fuqua has worked with Denzel Washinton and Mauro Fiore before in TRAINING DAY (available on Netflix, TNT or on DVD), and I do hope we will see more of this dream team in the future. [aartikel]B00OHL4BE4:left[/aartikel]