Clint eastwood celebrates old-fashioned heroism in “15:17 Paris.”


Clint eastwood celebrates old-fashioned heroism in “15:17 Paris.”

In 2015, three americans on the Paris train stopped the attacks. Mr. Eastwood reshaped the incident and boldly cast the real-life heroes as his own new movie.


This is fresh air. At the age of 87, Clint eastwood showed few signs of slowing down. His last two films, “American sniper” and “sully”, were hit, and the theme of “15:17 to Paris” continues to be the subject of the common man. The headline came from three americans (two of whom) stopped the 2015 terrorist attack on the train. In this movie, all three play themselves. Film critic David Edelstein commented.

DAVID EDELSTEIN, wired: Clint eastwood’s “15:17 to Paris” celebrates old-fashioned American heroism, and I love it. Heroes and their stories are well known. On August 21, 2015, three friends – the guest Seth, alex Carla toth and Anthony sadler – from Amsterdam on high-speed train to Paris, then a Moroccan gunmen wearing terrorist sympathizers from out of the bathroom is equipped with a variety of weapons. The first good thing is that he doesn’t know how to use them. The second was that several French passengers disarmed him in part, although one was badly wounded. The third is that stones may die before they leave the air force without hesitation.

For any a film producer, the problem is that all that fell rapidly, so must be made before the event a narrative, composition, and understanding. In the first hour, eastwood gives you striptease flashes, especially on the shooter’s sneakers. But most of the “15:17 to Paris” USES eastwood’s preferred template. On the basis of Dorothy Blyskal’s script, in a book by Stone, Skarlatos, Sadler and Jeffrey e. Stern, he illustrates how the bureaucracy tries to stop heroes.

In a Sacramento middle school, a cold executive tells stone’s mother, played by Judy greer, that her son stares out the window too much. Citing statistics, she said he needed the ADD medication. Mother was very angry. ‘my god is bigger than your statistics,’ she says. The three boys joined the Catholic high school. They play with toy semi-automatic rifles in the woods, but often clash with over-taught teachers, principals, and maverick coaches who don’t like them. Later, stone will become a square peg in the air force round hole. When an active shooter sounded the alarm, he refused his drillmaster’s command to hide under his desk and stood by the door of the classroom, waiting to insert a ballpoint pen into any intruder. Stone’s beliefs are personal. He believed that god had a purpose for him.

vIn “15:17 to Paris”, eastwood made a bold choice not to use actors as stones, skaratos and sadler. Men play by themselves. After a night in Amsterdam, they sit in a cafe and think about the future.

(film expansion “15:17 to Paris”)

ALEK SKARLATOS :(aleks) you just want to skip Paris?

Anthony sadler :(like Anthony) or at least a little delay.

SKARLATOS: [aleks] I’m hungry.

Sadler :(like Anthony) maybe, as you say, life is like a shock to something.

SPENCER STONE :(As SPENCER) now, it gives me a lot of confidence in some of the solutions.

SKARLATOS :(As Alek) and so on. What did you say?

Stone :(spencer) I don’t know, man. This is what I said in Venice. I was caught up in this European summit. I can’t lie.

Sadler :(like Anthony) no, no, no. You should have heard of this man. He’s talking about how life has made him take a hit on something, for example, a bigger purpose or something like that.

SKARLATOS :(as Alek) Spencer says?

Sadler :(as Anthony) I know. Deep, right?

SKARLATOS :(aleks) do you still think so?

Stone :(spencer) I mean, I think, but nothing stops us. If we don’t plan on that train tomorrow, then things will stop us. Objects in motion keep moving unless they are more powerful.

Sadler :(like Anthony) I tell you, man, he’s been very dull on this trip. I can’t even handle it.

EDELSTEIN: it’s a cheap shot, can say the three of us could win the French legion, but won’t win any oscars, but anyway, I will say this to illustrate Clint eastwood. As is known to all, he hated rehearsals and did not work closely with the actors, relying on them to do things right the first or second time. To use the actor, let them not through dialogue in the Sunday school pageants dialogue looks very reckless, though, I added, plays the middle school and high school boys child seems to be more undirected and incompetence. Spencer thinks he has the same screen as he does. He has a real weight.

Most of the “15:17 to Paris” is a journey of a Roman and Venetian hero with lovely postcards. But even at the time when the film was most relaxed, eastwood’s intentions were the same. In the historical and cultural context of Western Europe, the American people abroad may seem insignificant, but as we have seen, they are a bridge between this civilization and the dark forces of evil. In train sequence, the film’s crumbling structure is combined. There is no music, only screams, shots and bodies being stabbed and hit. He was so badly hurt that he almost broke his thumb, and stone still managed to stop the bleeding from the passengers on his neck.

And eastwood is close to the camera, to show how this man’s life is not stable, and, further, we are all dependent on like stone, scala toth and sadler so let yourself in danger. The final sequence USES the real French legion of honor presentations. I’m sure I’m not alone. I think I should stand up.

Davies: David edelstein is a film critic for New York magazine. On Monday’s show…

Kate Bauer: when you think you’re going to die, you really start to feel like you’re getting gray, and everyone else is changing colors.

Davis: Kate bowler was diagnosed with an incurable disease in her 30s. She was married, had a child, and taught at duke seminary. Her new memoir is about how religion affects how she deals with disease and how disease affects her beliefs. I hope you can join us.


Davies: the executive producer of fresh air is Danny miller. Audrey Bentham, our technical director and engineer, has received additional engineering support from Julian Herzfeld and Joyce Lieberman. Our digital media associate producer is Molly seavy-nesper. Roberta Shorrock hosts the show. For terry gross, I’m Dave Davis.


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