“Sinnerrs” is a great film about the saving power of the blues

“The Blues always has something familiar, behind a song there is a melody that has been running for centuries, sometimes millennia” says Ryan Coogler, screenwriter and director of the sinners. A Horror Gore and sexually explicit set in the Mississippi Delta In the 1930s, in which a group of African Americans met to spend an evening of music and dances and finds itself besieged by vampires. Some critics have gone to define as “sinners” a musical. It could be a forcing, even if in fact The film is full of musical performance, Not only from the interpreters, but also of legendary musicians of the genre. Saying more would be a real spoiler, so let’s put it this way: There are at least a couple of finals broken on the title titles of the film. Make sure to stay in the room until the final logo of Warner Bros.

So what is “sinners” and why is it worth going to see him at the cinema? It would probably be more correct A film about the salvific power of music, Even if the mysterious and violent entities that populate him are attracted by the presence of the young protagonist. Sammie “Preacher Boy” Moore is so talented in playing the guitar that he can make the past and the future of the blues live when his fingertips touch the ropes of a guitar given to him by the cousins. Music, in “sinners”, is in short a powerful entitya ritual, but above all it is Synonym for blues. On the other hand, we are in Mississippi, the United States of the genre. After the successes dictated by Studios such as “Black Panther” and “Creed – born to fight”, Ryan Coogler is finally put in the position of telling the black question in the United States of yesterday and today. It does so by choosing the blues as a prism through which to break down the political, social and cultural issues of history.

“Sinters” is in fact set in a crucial moment of US history: blacks are no longer slaves, Ku Klux Klan has been dissolved, at least in theory. After returning from the war, after looking for luck as gangster in the big cities of the North, the African American twins protagonists of the film return to their community and they try to build their own economic independence, of their safe spaces. Spaces to make music together. At the center of “sinners” there is The opening of a Jukebar in an old sawmill. The intention is to bring together the community and play and sing blues. To perform, in addition to Sammie, there are old drunks with infinite experience of Bettole and performances on the street, young sensual girls with a powerful voice. Those who are part of the community, of the Blues family is welcome but there are three strangers – white – who want to be invited to enter. There is a passage – gorgeous – in “sinners” in which Inside the Sammie Jukebar evokes the past and future incarnations of African American music, that mix with those present.

Not only that: there are other immigrants who have brought the musical memories of their land with them. All together, sweaty and concentrated, the appearances and present, dance on the notes of the guitar of Sammie. There are girls who twerkan, shamans from the heart of Africa who perform ritual dances, ballerinas of Beijing’s work: to keep all together is the blues, his ability to tell a thousand -year story of pain and rebellion. The evil entity of the film wants this: possessing the gift of Sammie of Finding a common root in suffering music of people who are so different. Or in other words, his extraordinary ability to do blues. In its best moments – almost all musical – “sinners” goes beyond the US question and goes further. The horrifying component for example is introduced by a villain with a rather seductive rhetoric and, which on closer inspection, is also a savior and turn an oppressed. The music is saving, of course, but it is above all A powerful entity, which often slips from passion to obsession. “Sinters” explicitly explicit the almost magical power, the ability to shape – for better or for worse – the lives of those who dedicate themselves completely.

Behind the music of “Sinters” – hybridized, contaminated, millennial and seductive – there is another musical story, which perfectly overlaps that of the vampires of the film. To compose the original music of the soundtrack there is the Swedish Ludwig Göransson, Faithful collaborator of Coogler. When after “Black Panther” the latter felt the need to turn Africa and explore its culture, Ludwig Göransson followed him, taking his father behind him who had started as a child to the mysteries of the guitar. The parent had learned to play as self -taught, fascinated by the blues melodies. To the criticisms received for “Black Panther” and its “Americanized” representation of the African continent Coogler reacted with A journey that made its Mississippi most connected to the African and European roots of the Blues, giving the film a more universal and community vision of making music. Finally, the circle ends with the feature film that inspired Coogler the idea for his vampire epic: “About Davis” by the Coen brothers, sore biography of a missing genius of folk. An intimate and melancholy film about a young past aspiring white folk musician. A title that basically speaks exactly of the same thing: about how music is the basis of all entities that populate the United States, how his power can damn or save those who try to tell that continent with their own voice and guitar.