A delusional maniac. Film black butterfly Still from the film "Black Butterfly"
Paul sits at his typewriter, typing the same phrase: “I’m stuck.” The writer tries to get out of a creative crisis with the help of alcohol.
After a picnic, a woman disappears in the forest. Her husband unsuccessfully calls her, she does not respond.
Realtor Laura brings potential buyers to Paul's house. He apologizes for the chaos in the house, gets into the car and drives away. Laura promises to show the house to clients herself. Paul comes to the store and borrows food there. The radio reports the murder of a woman. This is the fourth such incident in the area over the past few years. Paul gets a call from his agent saying that Paul's script has been returned for revision. Paul curses, he needs money. On a narrow road, a truck is driving ahead of Paul's car. Paul can't overtake him, but he finally succeeds. While overtaking a truck, Paul shouts something unpleasant to the driver. At a roadside cafe, Paul meets Laura. She's in a hurry. Paul asks her out on a date, and she agrees to meet him on Saturday. A truck driver, whom Paul overtook, enters the cafe. He's furious. Frightened, Laura leaves. An aggressive trucker tries to pick a fight with Paul, despite his apologies. Suddenly a young guy pushes the rowdy out of the cafe and says something to him. The trucker looks scared, and the guy takes his backpack from the cafe and leaves on foot. Paul follows the guy, then stops and offers him a ride. They get acquainted. The young man's name is Jack. He travels light with no specific goals. Paul says that there is a guest room in his house, Jack can stay there and take a shower. The guy agrees. They arrive at Paul's house. It's a terrible mess inside. Paul shows Jack his room.
In the morning, Paul finds Jack preparing breakfast; the guest also put things in order in the kitchen. Paul continues to drink. The next day, Jack invites Paul to carry out minor repairs in the house and on the property, he is ready to do it for free. Paul agrees. He tells Jack that he is a writer. His first two novels, published in Madrid, were a great critical success. Paul (his real name Pablo) was offered to write a script in Hollywood, he moved from Spain to America. Married the woman of his dreams. But gradually things fell into decline, his texts ceased to be in demand. And then his wife left him. He was left alone in this house, which he bought in the days of success in order to work in solitude. Paul was removed from working on the script, but a film based on his book was still made; except for the title, there was nothing left of Paul’s story. While talking about this, Paul manages to empty a bottle of whiskey. Jack claims that movies are not like life at all. He travels a lot, observes people, he knows more about real life than a reclusive writer. Jack asks Paul to read his script. He will then tell him his opinion of a common man. Paul agrees.
Jack swims every morning in the pond located on Paul's property. The writer sees a tattoo on the guy’s back: a black butterfly. Jack explains that he got the tattoo in prison. He tells Paul that he needs to stop drinking, alcoholism is interfering with his work. After looking at Paul's script, Jack says there is no idea in it. He is ready to give such an idea to Paul. Let this be a story about them. A writer living in the wilderness welcomes a guy to his home in gratitude for sparing him from reprisals from a rude driver. But soon the writer begins to regret his decision. Paul writes the script. Jack reads it and throws the manuscript into the stove. Everything is too simple here. Let Jack, according to the script, be in cahoots with the truck driver. He may still appear at the end of the story. Paul says he has a better idea. That night, Jack holds a knife to Paul's throat. He asks him to say something. In the scenario, a woman in a similar situation begs the criminal for mercy. It turns out that in real life it is difficult for a person who has a knife put to his throat to utter a word.
Paul goes through Jack's things. He discovers there a set of medical knives and newspaper clippings about missing women. Jack finds his hunting rifle in Jack's shed. Paul hears gunshots and a woman screaming in the street. He runs out of the house and asks Jack what he heard. He claims that he did not hear any screams. He fires a gun and the cries of birds are heard in the forest. "You about it?" he asks Paul.
Paul and Jack are sitting at lunch. A car arrives. It was the messenger who brought the grocery order. Jack holds Paul at gunpoint. The messenger leaves. Paul is angry. There is a quarrel. Jack beats Paul up. Then, in his defense, he says that strangers always make a person released from prison nervous. Jack demands that Paul continue working on the script. That night, Paul tries to leave the house in his car to go drink alone. Jack stops him and forces him to break bottles of alcohol.
The next day Laura arrives. Paul tries to leave with her, but they are stopped by an armed Jack. He forces Paul and Laura to push her car into a pond and orders them to return to the house. The sheriff arrives. He asks Paul about a woman who disappeared the other day. She worked at the post office and had to deliver a package to Paul from Los Angeles. Paul says he doesn't know anything about the woman. He tries to rush out of the house, as a result, Jack attacks the sheriff, forces him to climb into the trunk of his car and shoots him.
Paul and Laura see Jack get into the sheriff's car and drive away from the house. They run towards the forest, there is a railway there, a train should appear soon according to the schedule. But Laura twists her ankle, they don’t have time to catch the train, Jack catches up with them and takes them back to the house.
Jack tells Paul that he did not live up to his trust and violated their agreement. Paul says Jack is crazy. Jack says that if he is killed during the storming of the house, Paul will write the story. Paul asks to let Laura go, she has a small child. A fight breaks out between Jack and Paul. Jack ties Paul to a chair and leaves the room. Paul manages to free himself and sneaks into the kitchen, where Jack is. He manages to take possession of a hunting rifle. He takes Jack at gunpoint and sees Laura lying on the floor in a pool of blood. Jack suggests that Paul get rid of the woman's body, then no one will guess anything. Continuing to hold Jack at gunpoint, Paul says that he sometimes hears the voice of God. Then everything becomes clear to him. For example, he sees a girl in a car waiting for her boyfriend. Or he discovers a housewife in the forest. Thus, Paul admits to Jack that the murders of women are his doing. After completing his confession, Paul shoots Jack. He remains unharmed. Apparently, Jack managed to replace the cartridges with blanks. Jack snatches the gun from Paul's hands and hits him in the face with the butt of it.
When Paul comes to, he finds his house filled with FBI agents. Trucker, Jack and the “revived” Laura are FBI agents. They tracked the maniac for three years. Using a crane, the police remove Laura's car from the pond. There are dog handlers working in the house. Jack interrogates Paul. He shows him the evidence and plays the tape recording of Paul's confession. He calmly says that Jack himself planted all the evidence on him. And the recording shows a character’s monologue from a script he’s working on. Thus, Jack has virtually no strong evidence for a jury trial. Jack invites Paul to tell him where he hid the body of the wife he killed; she was his first victim. Paul denies killing his wife. Jack sees a photo of Paul's wife on the table, grabs it and runs outside. He compares the landscape behind the woman with what he observes with his own eyes. There is one difference: there is no pond in the photo. Jack tells Paul that he buried the body and then built a pond on top. Paul offers Jack a deal: he will tell him the details of all the crimes he has committed, and he guarantees his life, even if this means he will have to be declared insane and placed in a mental hospital. Jack says that he is not happy with this ending to the story.
Paul is sitting in the room in front of his typewriter. The writer takes out a sheet of paper covered with the same phrase: “I’m stuck.” With a clean slate, Paul begins a new story, it is called “Black Butterfly.”
Things haven't been going well for the writer Paul lately: his new book isn't selling, old royalties have been wasted, the film adaptation of the novel failed - the man pours gin into his loneliness in a house located away from people, and tries to squeeze out at least one new line. A rare foray into a nearby town almost turns into a tragedy for the writer; he manages to anger a truck driver whose fists are itching, but at the last moment Jack, a taciturn hitchhiking guy, comes to Paul’s defense. Wanting to thank Jack for saving him, the writer invites the young man to stay in his house for a few days, take a breath and get himself in order before a new journey, but very soon the guest felt like the master of the house - the assertive guy makes the writer remember that in these places several women have been killed in recent years. At the same time, with the appearance of an ominous neighbor, Paul's inspiration returned - he just has to wait to see what will prevail, danger or curiosity?
The first attempts at a Hollywood adaptation of the French “Night Moth” were made back in 2011. Then the main role in the film was planned to be given to Nicolas Cage
The mystery of the creative process occupies such a significant place in the works of various authors because there is still no exact explanation for the emergence of inspiration and the complete disappearance of any writing or artistic skills. Are these individual qualities that anyone can manage themselves? Or is it, as one of the poets aptly put it, the breath of God, in which man is just a conductor or a vessel? There are no answers, which is why authors are in constant search, grasping at any opportunity to immerse themselves in a new book or film.
Still from the film "Black Butterfly"
Sometimes, for new experiences, you have to look to the dark side. In 2008, Karen Oganesyan quite vividly described such a dangerous trip in his undeservedly forgotten today “Brownie” with Mashkov and Khabensky, and at the same time the French turned to film lovers with a similar story - director Christian Faure shot Eric Cantona in the thriller “Night Moth” and Stefan Freiss, spinning a dark maelstrom on the screen in which hunter and prey switch places several times in a modest 100 minutes. This film is also about a writer who found an incentive to write in meeting a dangerous stranger, but the final somersault here was quite far from the ending of the Russian film.
Still from the film "Black Butterfly"
In the cultures of many peoples from different parts of the world, black butterflies are considered harbingers of bad luck or symbols of approaching death.
Licking its lips at the successful plot, Hollywood adapted the French production for itself and released “Black Butterfly”, a picture that largely repeated the French original with minor edits - the action was moved from the Alps to Colorado, the mysterious stranger was made somewhat younger, and the maniac’s “record” was modestly cut list": European police were looking for the killer of eight girls, the Americans reduced the number of victims by half. Otherwise, the film crew did not require any special ingenuity; the original placed accents and colored the characters quite accurately. But for some reason, it was here that the “Black Butterfly” began to have problems...
Still from the film "Black Butterfly"
First of all, the American film made a catastrophic mistake with the casting. It’s difficult to make any complaints about the choice of director Brian Goodman; the names in his film are sonorous, but all three main actors seem to be out of place. Antonio Banderas, who plays Paul, knows how to be much more convincing, but here he can’t even drink in isolation, there’s not the slightest fire in his eyes, and the expression of unbearable boredom never leaves his face. Jonathan Rhys Meyers, although he tries from time to time to take on more brutal roles, barely resembles a guy picked up on the sidelines - too sophisticated, too aristocratic. His Jack even looks like he hasn't been crossing the Rocky Mountains for a couple of months, but has just left the nearest barbershop. Piper Perabo cannot at all be considered one of those women for whose sake they do terrible things - and she doesn’t particularly pretend to be, in any scene taking the pose of an inconspicuous decorative bush that accidentally fell into the frame.
Still from the film "Black Butterfly"
But the main problem of the film is that the director cannot cope with the rhythm of the plot. We won’t spoil the ending, because that’s the only thing that makes the film worth watching, but Goodman seems to have let go of the reins in the first third of the film, and therefore his main secret was prematurely revealed at the end of the first hour, and then a very awkward imitation of a stormy activity, more like confusion and panic. It's a pity, because in the original the authors managed to gather into a fist all the darkness that had accumulated in the characters and pour it out in a dense stream in the final quarter of an hour.
Unfortunately, we have to admit that Hollywood in this case was powerless not only to improve the European picture, but even to reach its level. And this despite the fact that the French initially filmed a budget production for TV, and in the leading role they had an eminent, but still unprofessional actor, better known for his feints on the football field. Losing to such an opponent against Goodman, Banderas and Myers cannot be considered a plus; for all of them, failure should be a good lesson. And there’s a reason to look for inspiration elsewhere; it’s definitely waiting somewhere.
Paul is a writer living in a lonely house on the outskirts. Lately, things haven’t been going well for him: the customer rejected his latest book, and he’s trying to forget about his failures with the help of alcohol. However, the hermit's life changes dramatically when he meets a stranger who helps him escape a brawl at a roadside cafe. Having learned that the stranger is traveling light, Paul invites him to stay with him for the night. A stranger unexpectedly shows interest in the writer and suggests a new plot for his book. But who is he, and what does the mysterious black butterfly tattoo on his body mean?
Hence the question - is it possible to look at something there other than the game? Antonio Banderas?
I admit, I haven’t seen the French original, so I can’t assess how much the remake has “slipped” in relation to the original source, but... damn it, “The Black Butterfly” is surprising! First of all, because there is nothing new in it - it is still the same salad of tomatoes and cucumbers of maniacs and victims - however, despite all the worn-out moves and some stereotyped characters, the execution here is at its best. In fact, we have before us a classic example of a chamber thriller, tightly tailored, with professional acting Antonio Banderas And Jonathan Rhys Meyers. Moreover, it is worth saying that both actors are worth each other - it is on the relationship between the psychopath and his hostage that the conflict of the story is built.
The tension increases from scene to scene, and the real highlight of the film is the unpredictability of the characters' actions. If at first events develop in a conventional art-house vein (reflections on literature and creativity, problems of a procrastinating personality) and resemble a somewhat overclocked version "Chinese coffee", then what’s happening is wrapped up in dynamic militant suspense... just the way we like it. The victim wants to escape and makes mistakes, the crazy killer tries to take control of the situation and is eager to prove the correctness of his views on the world and the creative process, without losing any of his “literary” charm...
In a word, it is a pleasure to watch.
Another feature of the action can be considered the “theatricality” of the production. There are very few visionary moves here, narration with a “picture”... and there is almost no nature as such - a few fir trees and a road going somewhere God knows where. From the scenery - an old residential wreck of a desperate writer, an alcoholic who has lost his wife, muse, job and money. Everything is like in a theater: here is the scene, here are the actors, here is the dramatic conflict. A person who wants to write a top story turns out to be its hero himself, without leaving the typewriter, so to speak. But who will put the finishing touches here - the author or his heroes?
It's hard to say whether this is the director's fault. Brian Goodman, or the acting experience of Antonio Banderas and Jonathan Rhys Meyers speaks to us from the screen, but surprisingly the picture from cover to cover remains spectacular and dynamic, even taking into account the intimacy. The secondary nature of the plot fades into the background - the actors have enough skill to give their characters individuality and make them look lively and bright. It is also interesting that the atmosphere is not lost in the slightest behind the dramaturgy: it is reflected in the dialogues, in the careful arrangement of the scenery, in the characters of the characters... the viewer is left with no doubt that the action is taking place in the wilderness, and the question of survival here is at stake. first place.
And yet, behind these unconditional advantages hide the shadows of all those films where everything was exactly the same, only instead of a gun there was, for example, a golf club hanging on the wall. Psychos and their hostages: , "Flower by the Road", "White River Boy" etc. So “Black Butterfly” squeezes into their orderly ranks, adding nothing new, but standing out for its solid production. It would seem that with all of the above, she would have scored six points in this review... but no. It must be said that the film has a perfectly executed final twist (it is appropriate to note that there is not even one!), leaving a tart aftertaste of darkness, despair and hopelessness.
When a writer becomes the main character in a film, this is an absolute chance for the viewer to get in touch with the creative kitchen, a chance to become immersed in the writing process, looking at the situation from the inside. Famous actor Brian Goodman (“Catch Me If You Can,” “Cocaine”) made his second directorial work about a writer who is at a creative impasse. “I’m stuck,” he types endlessly on a typewriter at the very beginning of the film. There is no inspiration, no money, his beloved wife is gone, a secluded ranch in Colorado is up for sale, and very bad news - from time to time women disappear without a trace in the area. It is quite suitable as the basis for a psychological thriller script, which is “Black Butterfly”, filmed as a remake of the 2008 French television film of the same name.
But Goodman and his screenwriters Mark Friedman (producer of Lafayette Squadron and Straw Dogs) and Justin Stanley (What Lies in Loch Ness, The Shadow People) take Black Butterfly to the strange and trying to hold on. in tension interaction. In the center of the film is not only the writer Paul Lopez (Antonio Banderas), but also a guy with a completely dark history - Jack (Jonathan Rhys Meyers, “August Rush”, “Match Point”). Jack helped Paul solve one small problem at a roadside restaurant - he stepped on the tail of an overly aggressive truck driver, who had a grudge against Paul, who was driving uncontrollably on a forest road. And, it seems, fate itself brings together a once successful writer and a tumbleweed vagabond. Jack, invited to the ranch, turns out to be a handy and businesslike guy and does everything to be as useful as possible and stay longer. When it comes to the sad story of Paul's failed scripts, Jack suggests that he write a story about the two of them.
There is very little logic in the fact that Paul tolerates Jack and does not throw him out of the door. The story of “The Black Butterfly” becomes the story of the owner’s imprisonment in his own house, which is based on a completely traditional thriller basis - a place remote from active life and the absence of any communications. As a result, Jack is not so much trying to stir up the writer as he is gravitating towards a demonstration of strength and real violence. Of course, there is a positive effect from this; Paul, who loves to drink a bottle, becomes a forced teetotaler. It's a strange game played by the determined but increasingly frightened Banderas and Myers, yet still falling short of the level of a universal villain. The spirit of a serial killer is constantly in the air, which gives the viewer a reason to suspect Jack in everything. At a certain point, his real estate agent Laura (Piper Perabo, They'll Gonna Get You, Coyote Ugly Bar) shows up at Paul's house and becomes the driving force behind the entire on-screen story from that point on.
One gets the feeling that in Black Butterfly, Goodman is trying his best to create a heightened, forced sense of mystery, while drawing on the best examples of the genre with a similar plot like the 1990 Misery, based on the novel by Stephen King. But in the end it all comes down to manipulating the viewer's patience and predictable trickery akin to when a circus magician pulls a rabbit out of a top hat. An attempt to shake up the development of the plot with two unexpected twists in the last 20 minutes of the film is so indigestible that it cancels out all the slightest merits of the story and the clash of characters shown earlier. Obviously, the entire film was designed around these third-act twists, but Goodman makes no effort to ensure that the first two are rich in meaning and do not cause contradictions with internal logic.
In Black Butterfly, each of the two main characters can be suspected of premeditated murder as each strives for dominance throughout the conversation about Paul's possible film script. But the main fact for this film remains that the creators are so fascinated by their ingenious plot constructions that they resolutely do not pay attention to the souls of the people they show on the screen, and deny the film the much-needed psychologism almost completely.
