Les apparences ne trompent not. The end of the last film by Oliver Stone, Wall Street - Money Never Sleeps (2010) is not a happy ending. Quite the contrary. Everything seems perfect. The family is reunited. Colleagues smiling. Everyone is seemingly unconcerned with a glass of champagne in hand. And into the arms of Michael Douglas, Gordon Gekko the abominable, his grand-son. A baby. Why does this child have the worst creature horror imposed on the screen long ( The Thing, John Carpenter, 1982)? Because it is the result of an exchange filthy. A bargain between the step-son of Michael Douglas, Shia LaBeouf, and this great character, series, fiction, Gordon Gekko: You can become a grandfather, see your grand-son, provided you make what you have taken your daughter (100 million). The result of this bargaining is a monster in the arms of one who, for Oliver Stone must embody evil. Suddenly, Gordon Gekko was a horrible descendant, worse than him because endeavored since its conception by an original sin which is to mix the sentimental, intimate with the laws of haggling. This second episode is much more damning than the first. It is, if you will, much as it critical n'épingle not a system but our hearts.
But the film is not as clear as Oliver Stone has always was a little blue flower, a little heavy, a bit awkward, a bit lazy and when he criticizes the United States, film after film, we do not really believe. We know he loves his country more than anything, celebs, money. This is understandable. We too would love that ... It is soft and it is also a bit vulgar. See the scene of his latest film when the two golden boys of New York spanning their Ducati Oliver Stone filmed his machine and those who straddle with evident pleasure. How not to sell? How not to love these engines purring in the middle of beautiful forests? How not to love the vulgarity? How not to sell to a happy ending even if it is monstrous?
Rémy Russotto
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